Mystery forms heart of drama
The Mystery Of Edwin Drood , by Rupert Holmes; director Lyndee-Jane Rutherford Circa Theatre, until April 25 Reviewed by Ewen Coleman
AMYSTERY is no more when the plot is revealed and, in Circa Theatre’s current production, The Mystery Of Edwin Drood, there are many. Little can therefore be said about the actual story, apart from the fact that it is a play-within-a-play where the performers are members of the Music Hall Royale who sing, dance and act out Charles Dickens last known work The Mystery of Edwin Drood .
And in this production, under the direction of Lyndee-Jane Rutherford, the large cast pulls out all the stops to bring it to the stage, creating a big, loud, high octane show, almost too much at times, but which has much of the style intended by the creator.
Holmes has incorporated Dickens’ unfinished story of the disappearance of Edwin Drood and who was responsible for his demise, into a traditional Victorian Music Hall showcombined with elements of British pantomime – the lead young male character is played by a female, with music that is a cross between Music Hall and Gilbert and Sullivan.
Under the guidance of the Chairman, excellently played by Gavin Rutherford, the story unfolds with songs that are sometimes complementary, others times purposefully added to allow lesser characters a chance to sing.
And while most of Dickens’ story takes up the first half, the second is mainly concerned with identifying the mystery of who the culprits are, with much assistance from the audience.
There are therefore many different endings, making great demands on the cast but providing great fun for the audience, although on opening night it wasn’t made obvious that the chosen villain was in fact the audience’s choice.
Although there was great enthusiasm and energy from the large cast, the chorus of 20 from Whitireia Performing Arts made it almost too big for the Circa stage.
And the relentless yelling and shouting in order to maintain the style and energy becomes too much at times, the large ensemble numbers often inaudible, the lyrics lost in the noise. But there were some great quieter moments such as Barbara Graham’s opening number as Rosa Bud and Jude Gibson’s heartfelt confession to Rosa as Princess Puffer.
The staging was innovative and creative, as were the costumes, to make this production, although not without its faults, nevertheless entertaining and enjoyable.
There are many different endings, making great demands on the cast but providing great fun for the audience.