The Guthrie's new offering playing on their proscenium stage is the 1971 Tony-winning play
Sleuth, which I've never seen or even heard of (it's never been revived on Broadway). Written by English playwright Anthony Shaffer (twin brother of two-time Tony winning playwright Peter, for
Amadeus and
Equus), it's an unclassifiable thrill ride of a play. Part mystery, part psychological thriller, part relationship drama, and full of inspected twists, I could not figure out what this show was or where it was going. At the end of Act I, I thought, what now? When Act II began I thought, wait, what's happening? And the twists and turns just kept coming, with tons of theater tricks that I won't spoil here. I can't tell you too much about this play without spoiling the delightful surprises, but I can tell you it's gorgeously designed, fabulously acted, and fully engrossing from start to finish.
See it now through May 10.
Our story takes place at the grand country estate of mystery novelist Andrew Wyke when he receives a visit from his wife's lover Milo Tindle. It starts out as a cordial negotiation; Andrew doesn't seem too upset that his wife is leaving him and wishes Milo luck. He explains that his wife has expensive habits, and suggests that Milo steal the jewelry in which he has placed all of his wealth, sell it on the black market, while Andrew gets the insurance money. It's a fool-proof win-win plan, what could possibly go wrong? Turns out, quite a bit, and as they enact the scenario it gets more and more out of hand. Where it goes, I never could have guessed.
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Andrew Wyke (Ramiz Monsef) and Milo Tindle (John Tufts)
(photo by Dan Norman) |
Kimberly Senior directs the play, returning to the Guthrie after directing
'Art' two seasons ago, and the twisty script plays out well, with great pacing and momentum through the twists and turns, and breathless physicality (fight choreography by Annie Enneking). Everyone in the five-person cast is making their Guthrie debut, except for John Tufts who appeared in
The Cocoanuts ten years ago, and as much as I love a local cast, I can't find flaws with any of them. Ramiz Monsef really digs into the role of Andew, relishing in the accent and the language and creating a vivid picture of this confident and cocky writer used to getting what he wants. John Tufts is equally great as Milo, a role that at first seems a little more straight-laced and controlled, but soon goes off the rails in delightful ways. Much of the play is a two-hander with these two actors, and it's a masterful performance by both, individually and as a partnership (even if they do look to be about the same age, as opposed to the age difference hinted at in the script). Rounding out the cast are Stanley Rushton, Robin Mayfield, and Liam McNulty as various police detectives who come to investigate the mysterious goings on at the mansion.
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| photo by Dan Norman |
Speaking of the mansion, I got a great look at this impeccably detailed set from my season ticket in the front row (the cheap seats). The two-level structure is positively stuffed with books, mementos, tchotchkes, stuffed animal heads, and other eccentric and eclectic items (almost as bizarre a collection as that displayed at
The House on the Rock). A spiral staircase leads up to the balcony holding massive bookcases, a solid wardrobe, and a harp. Windows look out to the exterior of the house, and the set extends into the wings, with glimpses of unseen rooms. The room is rigged with theater tricks galore (aided by the lighting and sound design); keep your eyes and ears open for the clues. Things get very messy, and someone is very busy behind that curtain during intermission setting it all to rights again. The play is set in the early '70s, with characters dressed vaguely of the era in clothing that befits their status. (Scenic design by Todd Rosenthal, costume design by Shahrzad Mazaheri, lighting design by Anshuman Bhatia, sound design by Jill BC Du Boff.)
Sleuth is pure entertainment, while also commenting on our never-ending fascination with detective and crime stories, a genre that it turns on its head.
