Review: The Game's Afoot at Spotlighters Theatre

By Jason Crawford Samios-Uy

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Running Time: 2 hours and 30 minutes with one 15-minute intermission

When one thinks of the holidays, rarely does one think of a murder-mystery, but Spotlighters Theatre latest offering, Ken Ludwig’s The Game’s Afoot, Directed by Fuzz Roark with Danny Romeo, along with Set Design by Alan Zemla, Lighting Deisign by Al Ramer, and Costume Design by Andrew Malone is a joyful whodunit that is sure to be a pleasing break from the hustle and bustle of this holiday season.

The Cast of The Game's Afoot at Spotlighters Theatre. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

The Cast of The Game’s Afoot at Spotlighters Theatre. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Set in 1936, this zany story unfolds at the large estate of William Gillette, a famous actor who is known for portraying that well known sleuth, Sherlock Holmes. The problem is, Gillette fancies himself a real life detective and when murder comes to his home, he and his guests (and cast mates from his latest production) work to figure out who the culprit is. Throw in a sharp tongued theatre reviewer and a local constable, the investigation develops with humorous results.

Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Set Design by Alan Zemla is impressive with an attention to detail. Spotlighters is somewhat unique in the fact that practically the entire theatre is used in their sets and this production is no different. It’s already theatre in the round and every corner is utilized, including a large trimmed Christmas tree, a small closet, an entrance/exit to the stage, and… get this… a secret room, which is absolutely ingenious. Taking a moment with the secret room, the door is evening seemingly automatic with the pull of an ornamented rope. Zemla’s detail with the stone work and shiny marble floor is superb and adds value to the production and sets the mood for the piece. Major kudos to Alan Zemla on his brilliant design.

Lighting Design by Al Ramer is appropriate and well planned out, adding to the value of the production. Murder-mysteries rely on precisely timed blackouts and Ramer’s design is on point, adding suspense to the scenes. Spotlighters is a small space but Ramer manages to light it accordingly with a well thought out design.

Melanie Bishop, Ilene Chalmers, and Thom Eric Sinn. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Melanie Bishop, Ilene Chalmers, and Thom Eric Sinn. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Costume Design by Andrew Malone is impeccable and he nails the period of the piece, which is the mid-1930s (and one of my favorite eras). Mens fashion hasn’t changed much through the years and a suit is always the norm, but Malone fits his male actors nicely and they seem comfortable as they move about the stage. The ladies fashions are quite a different story. Malone completely captures the essence of the 1936 upper class with flowing, yet form fitting gowns that ooze elegance. All the characters look their part and the period and gives an authenticity to the entire piece. Overall, Malone’s design is stunning and intelligent and is a joy to experience.

Tom Piccin and Ilene Chalmer. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Tom Piccin and Ilene Chalmer. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Direction by veteran Fuzz Roark with Danny Romeo is very good and they give us a charming and entertaining piece. Their vision is strong and through clever blocking in the round and with the talents of the cast, the story is easy to follow throughout. Roark and Romeo keep the action and their actors moving naturally to make sure the entire audience gets attention and doesn’t miss out on any of the story being told. The character work is brilliant and with the guidance of Roark and Romeo, they are fleshed out and authentic. The twist at the end is a bit abrupt and a tad bit confusing, but it is surprising, as intended and you’ll have to check it out to find out what it is! In general, Roark and Romeo did a splendid job with this piece and kept it funny, entertaining, and suspenseful, making for an veritable murder-mystery for the holidays.

Suzanne Hoxsey as Inspector Harriet Goring. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Suzanne Hoxsey as Inspector Harriet Goring. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Moving into the performance aspect of The Game’s Afoot, Suzanne Hoxsey takes on the role of Inspector Harriet Goring, the local constable assigned to check out a mysterious call made to the police station earlier in the evening. The character of Inspector Harriet Goring is supposed to be the “straight-man,” as it were, taking things seriously and trying to solve the mystery. Through this seriousness, the comedy shines through but, frankly, Hoxsey’s performance falls flat for me. She seems as though she’s trying too hard for the laugh but the timing is off and somewhat monotone, cautious delivery loses the comedy. That being said, Hoxsey gives 100% to her performance which is very admirable. She’s de
dicated to the role and sticks with it with confidence and a command of the stage.

Kellie Podsednik, Ilene Chalmers, and Andrew Wilkin. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Kellie Podsednik, Ilene Chalmers, and Andrew Wilkin. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Andrew Wilkin tackles the role of Simon Brigh, the younger actor who exudes a certain sleaziness but you can’t figure out just why because he seems like a gentleman but there’s just something about him. Wilken plays that aspect of the role beautifully and he looks the part and plays it confidently but his representation of this character seems to be all in contorted facial expressions. At times, in his intense scenes, he comes off more as a scary deranged clown rather than an upset and angry young actor. His character goes from one end of the spectrum to the other, between a suave demeanor to an angry desperation and both are a bit over the top with no in between. Now, this is not to say his performance is bad, because it is not. He commands the stage easily and his voice resonates throughout the small theatre. He, too, gives 100% to his character and makes choices to allow his character to be easily understood.

Tom Piccin as Felix Geisel does an admirable job as the loyal, laid back best friend and gives a strong performance with very good comedic timing and an urgency that drives his character’s actions. He understands his character and plays him with ease while having great chemistry with his fellow cast mates making for a very enjoyable performance.

Kellie Podsednik as Aggie Wheeler. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Kellie Podsednik as Aggie Wheeler. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

The role of Aggie Wheeler, the young, impressionable actress is taken on by Kellie Podsednik and her take on this character is thoughtful and entertaining. There may be more to this character than meets the eye and Podsednik plays the role with a natural, innocent air that works well and actually makes her a likable character. Podsednik is comfortable on stage and gives a strong performance that is confident and enjoyable.

Ilene Chalmers takes on the role of Madge Geisel, an old friend who is just as loyal as her husband, Felix. Chalmers plays this role with gusto and gives her all to this character and her dedication pays off as her portrayal is authentic and natural. Madge Geisel is more than an innocent bystander and she likes to get into the heart of the action and Chalmers plays this beautifully. She has a strong command of the stage and is a joy to watch.

Thom Eric Sinn. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Thom Eric Sinn. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Thom Eric Sinn plays William Gillette, the leading man who is famous for playing Sherlock Holmes and actually considers himself a brilliant detective and who has gathered these poor souls to his home on Christmas Eve. Sinn has a very strong stage presence and fits nicely into this character. His voice resonates throughout the theatre and he is natural and comfortable in this role. He has great comedic timing and does well with the farce, though his urgency does seem a bit forced at times. Overall, Sinn gives a very strong and entertaining performance.

Penny Nichols as Martha Gillette. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Penny Nichols as Martha Gillette. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Martha Gillette, the doting, elderly mother of William Gillette, is played by Penny Nichols and she is beyond charming in this role. At first glance, I didn’t buy the fact that Nichols is playing Sinns mother as she looks entirely too young for the role, but her portrayal of the character just emphasizes her acting skills and she played this part to the hilt. After a few moments, she is totally believable as the mother of Sinn’s character, regardless of looking younger than her character is supposed to be. She has beautiful comedic timing and her asides as she leaves the stage are just as funny as her onstage lines. She is a joy to watch and I hope to see more of her work in the future.

Melanie Bishop as Daria Chase. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Melanie Bishop as Daria Chase. Credit: Spotlighters Theatre/Shealyn Jae Photography/shealynjaephotography.com

Melanie Bishop as Daria Chase, the cut-throat, acidic theatre reviewer who seems to know the secrets of all the other guests and isn’t afraid to share them, is an absolute highlight of his production giving an outstanding performance. She has the fast talking, quit witted character down pat even using a Katherine Hepburn-esque voice that absolutely fits this character making her more authentic. Her confidence and comfort on stage makes for a superb performance that is not to be missed.

Final thought… The Game’s Afoot at Spotlighters Theatre is a bona fide murder-mystery that will have you laughing and scratching your head, wondering “whodunit?” The performances are strong and the story is entertaining and original making for a fun night of theatre in the midst of the hustle and bustle of the holiday season. Take a break from the craziness and check out this show!

This is what I th
ought of Spotlighters Theatre production of
The Game’s Afoot. What did you think? Please feel free to leave a comment!

The Game’s Afoot will play through December 18 at Spotlighters Theatre, 817 St. Paul Street, Baltimore, MD. For Tickets, call the box office at 410-752-1225 or purchase them online.

Review: TOWARD ZERO at Cockpit in Court Summer Theatre

By Jason Crawford Samios-Uy

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(l. to r.) Thomas C. Hessenauer, Randy Dalmas, John Rowe, Kelly Rardon, and Christopher D. Cahill. Photo credit: Joey Hellman


I always enjoy a good murder mystery and they’re always good money makers for community theatres and no one writes a good murder mystery like the legendary Agatha Christie. This summer, Cockpit and Court Summer Theatre’s first offering in their cabaret space is Toward Zero by Agatha Christie, (who also penned the novel) and Gerald Verner and is directed by Joey Hellman.
Toward Zero tells the tale of a house party (of course) at Gull Point, the house of Lady Tressilian, at Saltcreek, Cornwall. The guests consist of an old family friend, a divorced couple, his 2nd wife and her suave friend, and a barrister, who is also and old friend of the family. The divorced couple are cordial and may still have something for each other, the suave friend has a thing for the 2nd wife, the 2nd wife hates the 1st wife, the old family friend has a thing for the 1st wife, and the hostess and the barrister want everyone to be mindful of their manners. Throw in a Superintendent, an Inspector, and a P.C., and, oh, yeah, a murder, then BOOM… you have an Agatha Christie mystery.
At first glance, I knew I was in for a treat when I walked into the cabaret and was greeted by a beautiful, classic set by Scenic Designer Michael Rasinski. Designing for theatre in the round is difficult but Rasinski pulled it off flawlessly and brilliantly with vintage furniture, wainscoting on the walls, a chandelier hanging in the middle of the stage, and a chaise lounge that, when this production is over, I’d like transported to my house! No detail was overlooked down to the light switches, which were the old fashioned push two-buttoned type rather than the modern one-switch we use today. The set design was practically perfect! Rasinski also pulled double duty as the Lighting Designer and he, too, pulled this off brilliantly with lighting that set the moods perfectly for each scene.
Throughout the production, Sound Designer James Lefter added the usual murder mystery show sound effects such as thunder storms and glass breaking but they sounded like quality effects and not just a generic mp3 that can be downloaded off the Internet (even if they were) and they were all placed perfectly. Director Joey Hellman and Stage Manager Marcy Petrick put together a great soundtrack of music including classical instrumental pieces as well as popular vocal works of the mid 20th century.
Kudos definitely goes to Costumer Eva Grove as costume designs were spot on and thought-out for both formal and casual wear for 1955. There were quite a few costumes for both the male and female actors in this production and each one was appropriate and natural.
Getting into the performance aspect of the production, let me preface by stating that, as a whole, Toward Zero is a very appropriate show for community theatre and Agatha Christie can always be counted on to give the audience a good story and she’ll always keep us on our toes. However, play adaptations of Christie stories can be challenging, especially pieces such as Toward Zero, one of her lesser known adaptations. Even though Christie herself had a hand in writing this adaptation, and it was your classic Agatha Christie whodunnit and predictable, I still found the script a bit jumbled and hard to follow, at times, if you aren’t paying close attention.
Overall, the cast did a fine job with this challenging piece and Hellman made some wise choices such as impeccable blocking, which is difficult in the round, where no actor’s back was facing the audience for any extended period of time, but, as I sat there watching the action unfold, I said to myself, “I think this cast needs to go out for a drink with each other!” because there seemed to be little chemistry within the cast which is of the utmost importance when it comes to any play, especially a murder mystery. The chemistry that is present is OK, but does feel a bit strained.
At various points in the script, characters speak of the feeling of “something wrong” or “something out of place” but, because of the lack of chemistry, unfortunately, there is a lack of much needed tension. For there having just been a murder in the house, and suspicion being thrown around, one would think one could cut the tension with a knife, but, that’s not the case here. It’s as if the actors are just going through the motions of a predictable script. However, let me clearly state I don’t blame the cast or the director… I reiterate… a murder mystery is a challenging undertaking!
Speaking of the cast, in general, the British accents are admirable, but, overall, a dialect coach may have been beneficial all around. The actors knew their blocking and their lines quite well and spoke very naturally with each other.
Christopher D. Cahill as Thomas Royde is the first character we meet and, though it’s a bit difficult to understand what he’s saying, at times (I think the British accent is tripping him up occasionally), he has a very good and demanding stage presence and demeanor and knew and played his character very well and gave a strong performance and his vape pipe was brilliant and added to his character.
Kristin Miller takes on the role of Kay Strange, the 2nd, discontented wife of Neville Strange, played by Randy Dalmas. Miller has a tendency to take her character over the top with seemingly one emotion – upset – accompanied by pouty faces, crossed arms, and rolling eyes every time she steps onto the stage. However, the character is unhappy being where she is and has to deal with an ex-wife, so, Miller’s choices aren’t off the mark and she pulls off a very good, though mellow-dramatic, performance. Kay’s cohort, Ted Latimer, is nicely played by Andrew Wilkin and another character even mentions that Latimer is “a dramatic fellow” and, boy, does Wilkin take this to heart. It’s almost fitting that his character and Miller’s characters are so close because he, too, takes the character a bit over the top, at times, with the same rolling of the eyes and pouty faces. Regardless, he gives a strong performance and  has the perfect look for his character.
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(l. to r.) Christopher D. Cahill, Kelly Rardon, Andrew Wilkin, Randy Dalmas, Kristin Miller, Thomas C. Hessenauer, John Rowe. Photo credit: Jason Crawford Samios-Uy


Kelly Rardon tackles the roll of Mary Aldin, the pitiful Lady’s Maid to Lady Tressilian, played by Suzanne Young. Rardon gives a strong performance as Mary and is comfortable moving about the stage, giving a very nice performance but Young is one of the highlights of this production as she gives a very strong, believable performance as the old, crippled Lady Tressilian and has a demanding presence onstage as the matriarch of the bunch, shouting orders, and reminding everyone of the manners of a bygone era. Young is certainly one to watch!
A Baltimore favorite and a fixture in community theatre, John Rowe puts himself in the role of Matthew Treves, a barrister (an attorney, in America), and old friend of the family. He gives a strong performance as a stuffy, old fashioned gentleman of good background and is comfortable on the stage. Well, after being involved in community theatre for over 40 years, one should be comfortable, and Mr. Rowe certainly is! He certainly does take time with his lines, at times, maybe a bit too much time, but he is clear and strong and gives a very strong, believable performance.
Rounding out the cast are Thomas C. Hessenauer, Ryan Frank, and Connor Moore playing Superintendent Battle, Inspector Leach, and P.C. Benson, respectively. Hessenauer, a veteran of Baltimore community theatre, does a wonderful job as the lawman called in to investigate the inevitable murder and he has a strong understanding of his character and is believable as the person who takes charge to find out whodunnit! Occasionally, he comes on strong right out of the gate pointing a suspicious finger at the people he is questioning instead of transitioning gradually into that suspicion, but overall, Hessenauer pulls his role off very well.
As Inspector Leach, Ryan Frank seems to play the part more like an inexperienced young man who got his position because of nepotism rather than on merit. His character pops in, carrying various pieces of evidence and stands on the perimeter while his uncle, Superintendent Battle, solves the crimes. Script wise, I’m not sure the character is needed, but Frank plays the part admirably with the material he’s given and the same can be said for Connor Moore, as P.C. Benson. This character seems to just fill space on stage but could easily be cut, as well. However, Moore, in his impeccable costume and brilliant whistle, pulls off the part nicely and it’s obvious he’s giving 100%!
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Stephanie Horvath. Photo credit: Jason Crawford Samios-Uy


Two highlights of this production of Toward Zero are Stephanie Horvath and Randy Dalmas. The two play ex-spouses, Audrey Strange and Neville Strange and they pull off the parts flawlessly. Randy Dalmas has a strong presence and seems to understand his character. He moves comfortably around the stage and, if I might add, has a very nice, smooth voice that lends well to the British accent he pulls off beautifully. Horvath glides across the stage comfortably and effortlessly, embodying the character of an ex-wife who may or may not be who we think she is. Though a few of her reactions to major events in the show could have been more thought out, she is still gives a strong, believable performance. Hovarth and Dalmas make a dynamic duo that are a joy to watch.
Toward Zero is indeed a good show and has some very talented folks involved so, if you find yourself looking for something to do for the next couple of weekends, check it out! Agatha Christie always delivers and it’s always fun to see if you and your friends can solve the mystery before the big reveal!
Running time: 2 hours, 30 minutes with one 10 minute intermission
This is my take on this production of Toward Zero… what do you think?
Toward Zero will play Friday-Saturday at 8pm and Sunday at 3pm through June 26th at CCBC, Essex Campus, Community Center. For tickets, call 443-840-ARTS (2787) or purchase them online.