Tuesday, Nov. 11, 2003

BY BARBARA TRAININ BLANK
For The Patriot-News

While writing his last novel, a whodunit called "The Mystery of Edwin Drood," Charles Dickens did an unforgivable thing -- he died.

That opened doors for people with fertile imaginations, among them Rubert Holmes, who created this musical based on the unfinished novel. The play, which opened in 1985 in New York's Delacorte Theater before moving to Broadway, garnered some criticism along with five Tony Awards.

The play-within-a-play is set in a Victorian-era music hall in London, where the performers move from the dramatic to the comic and melodramatic. Above all, they try to ingratiate themselves with often-rowdy audiences.

In Theatre Harrisburg's production, the actors make those transitions seamlessly. Under the stylish direction of Thomas G. Hostetter, they serve up all the genres of acting, as well as singing and dancing with verve.

Maria Petrilak has a voice like a bell and personality larger than her size as the male impersonator, Alice Nutting, playing Edwin Drood.

David M. Fisher brings his stage presence and wry humor to the role of the chairman, emcee/narrator/performer in a play as full of wit as risque humor.

Reprising the role he created in the 1989 Theatre Harrisburg production, Michael K. Huff brings a touch of Hyde and Dracula to John Jasper, a hypocrite you'll love to hate.

Bridgette Gan is the picture of young modesty, tinged with emerging sensuality, all with an operatic voice. Manuela H. O'Brien excels as the more womanly Helena.

In her Theatre Harrisburg debut, Janine Steigerwald makes it believable that the venal opium-den mistress, Princess Puffer, has a tender side.

Andrew Hankinson is dashing and particularly strong vocally as the second possible villain, Neville. Mark W. Arner is gleeful as the amorous (and maybe worse) reverend.

Robin Dorff delightfully plays the reeling-drunk gravedigger Durdles. Andrew Eckert is his son and sidekick.

Nathan Brant is charming as a bit player in search of his moment in the theatrical sun.

Sometimes enunciation failed on a large stage. On the other hand, the various British accents were well done, as coached by Marnie Brennan.

Andris Krumkalns, in his debut at the theater, designed the triple-proscenium set resembling a music hall. Paul R. Foltz did the costumes, and Scott Summers, the lights.

Marc E. Farrell provides smooth musical direction for a score that incorporates patter songs, operetta and other styles. Patrice Whitson's choreography is fun.

Dickens has fared well in having many of his beloved works translated into films, plays or musicals. Whether Drood is your glass of port or not, and whether the author himself would have found it weighty enough, the show is probably worth at least a sip.