Fall Into the "Deathtrap" with The Rep This Month

By Mike Logothetis
Theater reviewer Mike Logothetis grew up in North Wilmington, performing in school and local theater productions. He lives in Newark, but you can find him wherever the arts are good.

The Resident Ensemble Players (REP) fully deliver in the form of Ira Levin’s 1978 Edgar Award-winning play Deathtrap – a dark thriller with a perfect blend of schemes, plot-twists, and black humor.

Ira Levin's Deathtrap playing now at The REP.
Photo courtesy of The REP.

Formerly successful playwright Sidney Bruhl (Lee E. Ernst) has had a recent string of theatrical failures; is dealing with writer’s block; and is getting short on cash. A potential change in fortune arrives in the form of a brilliant script sent by former student Clifford Anderson (Mic Matarrese). Clifford’s thriller – also titled Deathtrap – has all the makings of a Broadway hit. Sidney tells his wife, Myra (Elizabeth Heflin), that the student’s play could put him back on top if he steals it and passes it off as his own. But for that to work, Clifford would have to be out of the picture. Permanently. Myra sees the wheels in Sidney’s head turning and hopes the unthinkable hasn’t really been considered. Sindey assures Myra he is only kidding and would never truly entertain such an atrocity just to steal a script. But the play is called Deathtrap…

“I’m interested in the thievery,” says Interim Producing Artistic Director Steve Tague. “It is an old premise, but we don’t seem to get tired of it. What are we willing to do for success, or money, or fame, or admiration?”

Director Michael Gotch keeps the pacing tight and uses the wonderful set by Stephanie Hansen in ominous and oddly comforting ways. When Sidney isn’t scheming, he’s enjoying his brandy by the fire and fawning over his collectibles – various weaponry. But when his doddering evil takes hold of him, Sidney’s surroundings become his killing fields. Credit to Ernst for appearing tough to decipher when he’s being nice and when he’s sizing up his prey.

Matarese is solid playing a character who may just be too smart for his own good. His Clifford initially seems overwhelmed, but grows bolder and more driven in purpose as Act II develops.  The cast also includes REP company members Stephen Pelinski (attorney Porter Milgrim) and Kathleen Pirkl Tague (psychic Helga ten Dorp). The portrayal of ten Dorp is somewhat over-the-top, but provides humorous portents of things to come and unknown things that were. Plus, her hair – and that of Matarese – are glorious. Kudos to Denise O’Brien for her wig design.

The show is a pleasure to experience and holds up well after almost 50 years. Celebrated author Chuck Palahniuk praised Deathtrap thusly: “Everything looks so gorgeous and simple and approachable, but on the other hand, it’s so incredibly complicated and beautifully assembled.” I concur.

With over 1800 performances, Deathtrap is known as one of Broadway’s greatest successes. It was even adapted into a film starring Michael Caine and Christopher Reeve. Interim Producing Artistic Director Tague concludes: “The consequences of deception are the deliciousness of this play. It’s a wicked, outrageous romp that won’t disappoint.” 

Warning: This production includes strobe lights, gunshots, violence, and profanity. Many audience members gasped and visibly reacted to some of the surprises the plot revealed. 

Performances of Deathtrap run April 11-28 with Opening Night being April 13. Informal talkbacks with the cast take place following the evening performances on Thursday April 13 and Friday April 26. Two “prologues” occur on Saturday April 20 and Sunday April 28. Tickets prices range from $30-39 with discounts available for students, seniors, plus University of Delaware faculty and staff. Tickets can be purchased online at www.rep.udel.edu; by contacting the REP box office at (302)831-2204; or visiting in person at 110 Orchard Road Tuesdays through Fridays from 12 to 5 PM. The show runs approximately 2 hours and 20 minutes with one 15-minute intermission between acts.

The Thompson Theatre at the Roselle Center for the Arts is located on the University of Delaware’s Newark campus and is ADA-compliant. It is equipped with a hearing loop system, which works with hearing aid t-coils, cochlear implants, and in-house hearing devices. Wheelchair and other seating requests can be made prior to the performance by calling (302)831-2204 or emailing cfa-boxoffice@udel.edu.

The preface to the published script describes it as "...something so evil that it infects all who touch it...” but I would say it entertains all who witness it. Call it a Murder Game…

The REP Heats Up the Stage with New Production

By Mike Logothetis
Theater reviewer Mike Logothetis grew up in North Wilmington, performing in school and local theater productions. He lives in Newark, but you can find him wherever the arts are good.

The Resident Ensemble Players (REP) deliver suspense, intrigue, and stage magic with John Ball’s In the Heat of the Night. Adapted by Matt Pelfrey from the book that inspired the 1967 Oscar-winning film, In the Heat of the Night is compelling theater with themes that often touch on modern ones.

Detective Tibbs and Officer Sam Wood driving to the scene
of the crime. Photo courtesy of The REP.

Set in the early 1960s, the piece tells the story of a white man is discovered dead in tiny Argo, Alabama. Local police arrest the only stranger in town — a black man named Virgil Tibbs (Hassan El-Amin). Little do they know that their suspect is an expert homicide detective from California. Left with no witnesses, no motives, and no clues, Detective Tibbs becomes this racially tense community’s only hope of solving the brutal murder.

El-Amin is excellent in portraying Tibbs as thoughtful and strong in a setting where the color of his skin can (and does) lead to dehumanizing actions by those around him. Tibbs is always trying to be the bigger man, upholding the honor of his person and race despite overt attacks against both. (Be prepared for onstage violence and strong language which includes racist, antisemitic, and homophobic slurs.)

Chief Gillespie (Lee E. Ernst) is a key antagonist to Tibbs. He dislikes both the situation and the race of the man who’s been tasked to help him solve the murder. But with each passing day, a modicum of respect creeps into the Chief’s interactions with Tibbs. Ernst does well as an often-flustered man who should control more than he does but is always being told otherwise. Ultimately, even after Tibbs “starting to grow” on him, Gillespie can’t bring himself to shake the man’s hand whose respect he’s earned.

While this story hits all the checkboxes for an entertaining detective story, it’s also an undeniable social commentary. Director Cameron Knight said, “We are at a moment in our country, with our art, politics, and even our interactions, where we operate in extremes: extreme rage, patriotism, protesting, etc.”

“For many, it makes any conversation of our history; our journey to this moment and how we deal with each other a delicate subject and often avoided. I believe we must be able to go towards difficult, uncomfortable conversations and at times, actions, in order to grow positively. We are fractured as a society and if we don’t begin to confront our past and the needs of our future, we are on a path towards despair.”

“This play offers a glimpse into the many levels of corruption that exist within our culture and institutions, shows the harsh and firm mindsets that are at odds, and invites us to examine who we want to be. Do we want to grow, or do we merely want to win?”

Hats off to the creative team for making the production a multimedia feast for the senses with articulating stage parts, 3-D dynamic curtains, and graphic video enhancements. Britton Mauk (Scenic Designer), Dawn Chiang (Lighting Designer), and Patrick W. Lord (Projection Designer) took the collective vision of Director Knight plus Interim Producing Artistic Director Steve Tague and did an amazing job.

Standout performers include Michael Gotch as conflicted policeman Sam Wood and Stephen Pelinski as both defiant Harvey Oberst and eerily protective Mr. Purdy. If this were a classic melodrama, we’d all boo and hiss at Mic Matarrese for his strong work as Pete — a cop and Klansman whose segregationist beliefs are pungently strong.

Performances of In the Heat of the Night run through November 19 in the Thompson Theatre at the Roselle Center for the Arts on the University of Delaware’s Newark campus. Tickets prices are $30-39 with discounts available for students, seniors, and University of Delaware faculty and staff. 

Tickets can be purchased online at rep.udel.edu; by contacting the REP box office at 302.831.2204; or visiting in person at 110 Orchard Road Tuesdays through Fridays from 12:00 to 5:00pm. The show runs approximately 2 hours and 20 minutes with one 15-minute intermission.

The Thompson Theatre in the Roselle Center for the Arts is ADA-compliant and is equipped with a hearing loop system, which works with hearing aid t-coils, cochlear implants, and in-house hearing devices. Wheelchair and other seating requests can be made prior to the performance by calling the number above or emailing cfa-boxoffice@udel.edu.