Kirsten Salpini & Jared Troilo in "Murder by Two" (photo: Mark S. Howard) |
As
anyone who recalls playing the popular board game Clue can attest,
murder can be fun. The perpetrators of the musical comedy Murder
for Two now playing at Lyric
Stage Company were no doubt aware of this, and attempted to provide a
murder mystery with innumerable possible suspects. With an unfunny
Book written by Joe Kinosian (who also composed the undistinguished
music) and Kellen Blair (who also wrote the predictable lyrics) they
created a whirlwind of largely unmemorable cliches of the genre in a
rapid-fire ninety minutes or more. First developed as far back as
2011, their musical made it to New York in 2013, where it somehow
garnered nominations for Drama Desk and Critics' Circle Awards, and
ran for six months. Go figure. A simple murder mystery, it is chock
full of hoary cliches of the genre, undoubtedly meant to be
tongue-in-cheek, but barely at a high school sophomoric level. There
were about a half dozen laugh-centric moments; the rest were
laughable, that is, not in a good way. One character references “the
slow and painful deterioration of the American theater”, with no
real sense of self-reflective irony.
It seems that the murder of novelist Arthur Whitney, at
his surprise birthday party in an isolated mansion in present-day New
England, has no end of suspects. It falls to Officer Marcus
Moscowitz (Jared Troilo), aspiring to detectivedom, to solve the case
and winnow out the guilty party from the many Usual Suspects (all
played by Kirsten Salpini). Could it have been Whitney's widow
Dahlia, the ballerina Barrette Lewis, the married couple Barb and
Murray, the psychiatrist Dr. Griff, Whitney's niece grad student
Steph or the trio (Timmy, Yonkers and Skid, not a law firm) of
members of a boys' choir? Or the latecomer Henry Vivaldi? At the
end of the show, it's not so much about who's exposed as it is about
who isn't. But by then, who cares?
As Directed by A. Nora Long, there is a huge amount of
energy both in front of and behind the curtain. Troilo has an
established resume locally, but relative newcomer Salpini may be
miscast in roles (usually, but not always, played by a male)
requiring more variance in pitch for presenting such an array of
distinctive characters. For the record, the Music Direction is by
Bethany Aiken, with minimal Choreography by David Connolly, clever
Scenic Design by Shelley Barish, quite apt Costume Design by Tobi
Rinaldi, effective Lighting Design by Heather M. Crocker, and
terrific surround-Sound Design by Andrew Duncan Will.
One is typically urged at Lyric performances, tongue in
cheek, that if one doesn't like the production, please don't say
anything. So be it.
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