Edgar Allan Poe’s “The Murders in the Rue Morgue” is not my favorite tale. (I’m more a fan of “The Pit and the Pendulum.”) I get that Poe’s 1840s short story is considered the first modern detective story – about 40 years before Conan Doyle’s Sherlock and 80 years before Agatha Christie – and it certainly introduced me to the term ratiocination, using exact and logical thinking to solve a problem. But Poe’s solution, perhaps ingenious to some, always seems more ruse than macabre, and just too pat to me.
But Peninsula Players, in collaboration with Chicago Radio Theatre, has produced a delightful, dramatic, radio-style production of “The Murders in the Rue Morgue.” Adapted and directed by Kevin Christopher Fox, who by the way has added an ingenious twist by making Dupin a female, the presentation is billed as a way to safely present stories during the pandemic and “say thank you to patrons … during the theater’s intermission.”
The production begins with a tongue-in-cheek, pre-show, backstage visit guided by director Fox, from warm-ups to divo digs at Peninsula Players’ beloved veteran Greg Vinkler. The original music of Christopher Kriz – lively, soothing and at times heavy – is also introduced, timed with an eerie pealing of bells. (Well, it’s Paris, isn't it?) And if you are at all concerned about knowing who’s speaking, the character’s title is always projected onscreen. Just be aware it’s a black screen; there are no pictures.
Poe, the noted 19th century Victorian-era American writer and poet, wrote “The Murders in the Rue Morgue” at a time when crime was at the forefront due to burgeoning cities and a developing focus on scientific police work. The story was supposedly also a metaphor for the battle of brains versus brawn, with an emphasis on reading and the importance of words.
The plot? Well, to summarize with as few spoilers as possible, young Charlotte is attempting to record the narrative of her uncle Marshall, 50 years after an event that is “burned” in his brain. It all began after a young Marshall has met Mademoiselle Dupin in Paris in an obscure library; both were searching for a play by Sheridan (“the journey to locate it is reward itself”). Together they read about two horrifying murders in the newspapers; a Madame L'Espanaye and her daughter have been found dead. Madame’s throat has been cut and her strangled daughter’s body has been stuffed up the chimney. The room was locked from the inside.
Extensive but unclear witness statements (and here some interesting comments on cultural prejudices pop up) agree there were two voices, one perhaps speaking French, the other a foreigner and described as everything from harsh to shrill to quick. In the room are found a bloody razor, gray hair, a hair that doesn’t seem human, and two bags of gold francs.
Despite a lack of evidence, bank clerk Adolphe Le Bon is arrested, and because Dupin owes Le Bon a small favor and the “inquiry would provide amusement,” she with sidekick Marshall decide to investigate the atrocity. Asking “what has occurred that never occurred before?”, Dupin proves impossibilities can be realities in the perplexing mystery, and she ultimately solves the case.
Aided by the sound effects of foley artist Ele Matelan, the entire ensemble of five possess expressive and articulate voices. Characters are conveyed with clarity and satisfaction. Both Fox and Poe have provided a strong narrative for these actors.
Allison Selby Cook is the intriguing Dupin. She expresses authority, radiance, triumph and an analytic quick wit. Greg Vinkler, the Peninsula Players veteran, is every bit the solid, warm, hapless uncle Marshall (and I can see him so easily doing Watson in a Sherlock tale). Mike Jimerson is the young Marshall, and I love how his lines overlap at times with Vinkler’s. Jimerson sounds handsome in his questioning devotion to Dupin. Erica Elam is an eager, innocent, young Charlotte, and Neil Friedman is definitely a crusty, seaworthy, husky sailor; both Elam and Friedman also are utilized in other parts.
The entire ensemble, not surprisingly, has an extensive and impressive background: awards, nominations, work all over the country in theaters from Steppenwolf to The Kennedy Center and television.
This is truly theater of the mind and for the mind. Peninsula Players’ radio presentation allows our relaxed imaginations to provide the visuals. It only requires a focused listener. The actual production lasts roughly 52 minutes, and I applaud Fox and Peninsula Players for using the four blocks of radio plays so well: speech, sound effects, music and silence. Tune in.
[The show is free, but donations can be sent to Peninsula Players at P.O. Box 849, Fish Creek, WI 54212.]
• Regina Belt-Daniels has been involved in theater since the first grade in countless productions throughout Illinois, Ohio and upstate New York. She awaits the return of what she loves to do best: act, direct, teach, travel with her husband, and attend live theater.
IF YOU LISTEN
WHAT: "The Murders in the Rue Morgue"
WHEN: Through Nov. 30
COST: Free, but donations encouraged
INFO: www.peninsulaplayers.com