Murder is a festive affair in sunset’s ‘the game’s afoot’
Actress Madge Geisel (Maggie Marks) strikes a theatrical pose at a holiday party hosted by, far left, William Gillette (Paul Weir) and his mother, far right, Martha (Joan End) and is joined by guests, from left, Aggie Wheeler (Emma Losey), Felix Geisel (Scott Korman) and Simon Bright (Rob Kuhnen).
By Marilyn Jozwik
Published Dec. 7, 2019
Murder isn’t normally part of a festive gathering, but when the hint of Sherlock Holmes is in the air it seems par for the course.
In Sunset’s “The Game’s Afoot” or “Holmes for the Holidays,” the audience is invited into the home of William Gillette, a real-life character who wrote stage adaptations of Arthur Conan Doyle’s stories and played Holmes on stage 1,300 times, starting in 1899. Gillette has invited several theater friends for a Christmas Eve gathering, a couple weeks after he was shot in the arm during the final bows of one of his shows.
The Ken Ludwig show, directed by Carol Dolphin, features some of the playwright’s trademark wit and humor that make his shows, such as “Lend Me Tenor” and “Leading Ladies,” some of contemporary American theater’s most popular comedies. You’ll see characters trying to outdo each other in quoting Shakespeare, another favorite bit of Ludwig’s.
Here we have the ultimate detective, Sherlock Holmes -- represented by Gillette—superbly played by Paul Weir, who has all the physical attributes (tall and lean with an elegant demeanor and resonant voice) for the part. Weir is also adept at the comedy that Ludwig frequently inserts.
While this isn’t quite the madcap romp of Ludwig’s “Tenor” and “Ladies,” it does contain some of the goofy elements audiences have come to expect from the playwright.
The festive gathering at the Gillette home includes couples Aggie (Emma Losey) and Simon (Rob Kuhnen), and Madge (Maggie Marks) and Felix (Scott Korman). William lives with his mother, Martha (Joan End). Though the year is 1936, Gillette has all sorts of innovations in his home, including listening devices and an area with a Christmas tree that revolves into a bar with the touch of a button. You can imagine what fun the show has with these handy gadgets.
Especially when critic Daria (Ramsey Schlissel) makes a surprise visit. Daria, who has skewered all the performers in her critiques, has lots of dirt on everybody and is much despised. Schlissel plays the showy gossip with a delicious deviousness, flying around the room with dramatic flair, dropping little bombs of incrimination as she goes. So, when she stumbles and bumbles her way in from the back with a knife in her back toward the end of the first act, the suspects are many.
Schlissel’s Daria is wonderful to watch as a live performer, but does some fine work as a corpse as well. Inspector Goring (Susan Zuern) is on her way and Gillette and Felix take turns hiding poor Daria’s remains, putting Schlissel in all sorts of awkward – and hilarious – positions.
Zuern, with her convincing British accent – though you wonder what brought her to Connecticut from Merry Olde England – adds bursts of color to Act 2 with a sort of whimsical portrayal of the inspector, who bustles about looking for clues that are right in front of her. For some reason, jokes seem funnier with a British accent.
Performers portraying the two couples also provide solid performances. Kuhnen and Losey have some fine moments, especially when the scheming Angie and Simon find the screws tightening, leading to some physical struggles well-played by both. Marks has served as Fight Captain, with Christopher Elst as Fight Director, giving the slaps and blows believability. Losey’s damsel-in-distress poses are hilarious.
Korman and Marks also give fine characterizations. Korman has his hands full dealing with the catty Madge and battling Daria’s accusations, and then playing beast-of-burden in some hilarious situations with the dead body.
End, as William’s mother, gives a breezy, easy performance, gliding comfortably in Costume Designer Jazmin Aurora Medina’s glitzy gowns. She is relaxed in her opulent surroundings, verbally sparring with her famous actor son. End, too, has a wonderful way with wit.
Matthew Carr’s set, with deep rose-colored walls and crystal chandelier, provides a perfect playground for the performers. The weapon collection of the slightly eccentric Gillette is well-represented on the walls. Light designer John Dolphin helps create the stormy night and eerie illumination during the séance.
From the play within a play and dramatic shooting, to the twist at the end, “The Game’s Afoot” is a wonderful evening or afternoon at the theater!
If you go
Who: Sunset Playhouse
What: “The Game’s Afoot” or “Holmes for the Holidays”
When: Through Dec. 22
Where: 800 Elm Grove Road, Elm Grove
Tickets/Info: 262-782-4430; sunsetplayhouse.com