The show: “Murder for Two” at Long Wharf Theatre’s main stage in New Haven.
What makes it special?: Presentation of popular off-Broadway musical-comedy-mystery.
First impressions?: I’m immediately suspect of forced bravura turns, those shows that demand accolades because everyone is working just so darned hard and sweating up a storm. It took time for me to warm up to the aggressive performances of this two-actor show on tour with Ian Lowe playing the sleuth and Kyle Branzel playing all the suspects and both of them playing the piano and singing separately and together. But eventually the cleverness of much of the material and the versatility of the clearly talented duo won me over, more or less. But there were still too many moments of stage desperation in a staging that begged to be applauded.
Whodunnit?: Joe Kinosian wrote the music and co-wrote the book and Kellen Blair wrote the lyrics and co-wrote the book. Both starred in the original production two years ago at NYC’s Second Stage, following its hit Chicago run. Scott Schwartz directed, no doubt with a stop watch and whip.
What’s it about?: The show begins with the introduction of two extravagant, eager-to-please actors of extravagant temperaments presenting themselves as vaudevillian-style entertainers who will be presenting a murder mystery in song and patter.
And the mystery?: Who killed Arthur Whitney, the rich mystery novelist who gets plugged just as the lights go off at a surprise birthday party at his manse.
Marcus, a would-be sleuth and lowly police officer (Lowe) arrives at the scene of the crime, eager for his detective badge, and hopeful to solve the crime before the real deal arrives an hour hence. He starts interviewing the suspects (all played by Branzel with specific accent, affectation or physicality to differentiate them). They then proceed to give their alibis and tell their back stories in song and comic scenes.
There’s the victim’s Southern belle wife, Dahlia, who isn’t so sad her spouse is kaput, given that he ended her dubious stage career. Then there’s ballerina Barrette Lewis who Marcus finds out was doing some private pirouettes with the victim.
Then there’s psychiatrist Dr. Griff who seemed to be in everyone’s head. The victim’s young niece is also on hand, trying to be all too helpful. And then there’s that rascally boy’s choir that was there for the party. They couldn’t have been involved. Or could they?
Sounds a bit like “The Mystery of Irma Vep.”: It’s pretty similar, with a different era and slice of ham but structured more as a vaudevillian turn, complete with props, visual gags and breaking the fourth wall for an audience bit.
Reservations?: The non-stop energy without much variation — its one ballad break seems like a revelation — is exhausting. E (energy) does not equal MC (musical comedy) squared.
More variation would have given the audience (not to mention the actors) a chance to catch their breath and savor some of the cleverest of bits — and keep the narrative clear. There’s much wit, but plenty of clunkers, too, as jokes get thrown against the wall willy-nilly, hoping that the laughs stick.
Who will like it: Fans of mysteries, vaudeville and frantic acting turns. Producers looking for low-overhead shows.
Who won’t?: Those who like their mysteries more Sherlockian, their musicals more traditional and their comedies rooted in character.
For the kids?: If they can stay focused — good luck there — as characters and plot whiz by, they’ll probably enjoy the silliness.
Twitter review in 140 characters or less: Murder, They Sang, Joked and Wore Out.
Thoughts on leaving the parking lot?: Murder mysteries — musical comedy-connected or otherwise — used to be a staple of theater, especially during the summer months. Catching “Deathtrap” in the Berkshires last month and now this show brings to mind the escapist pleasures of playing sleuth. (Another dandy show, that “Sleuth.”) But it’s been a while that a really suspenseful or witty whodunit really hit it big. Even Stephen Sondheim came up short when he tried his hand at it. Here’s hoping that a playwright with a puzzle-centric mind comes up with one for the new century.
The basics: The show continues through Aug. 30 at Long Wharf Theatre, 222 Sargent Drive in New Haven. The running time is 90 minutes with no intermission. Information at longwharf.org and 203-787-4282.
