Eric Friedman and Dana Skiles in "Lura"
Most people familiar with Laura know it in its form as the 1944 movie directed by Otto Preminger. The quintessential film noir with its central femme fatale, brusque detective, and, of course, murderous storyline, it was popular with the public and critics alike, was nominated for five Academy Awards (winning for cinematography), and is still considered a classic. It was based on Vera Caspary's 1943 novel, which had its origins as a seven-part serial in Collier's Weekly Magazine in 1942. Caspary and George Sklar's play script was published in 1947, though it's unclear whether it was actually written before the serialization or after the film.
My point is that the various forms of Laura's story have significant differences in tone, character, and plot details, so even if you've read the words or seen the motion picture, this play will still be a fresh experience for you. (For instance, as is typical and practical for stage works versus film incarnations, this story unfolds in one room instead of multiple locations, and it's told by a cast of eight instead of the film's 60.) It took time for some of the performers in director John Donald O'Shea's production at the Richmond Hill Barn Theatre to fully inhabit their roles; consequently, I was slow to warm up to the show. But I did. The compelling mystery aspects enter the script late, too, but are ultimately engrossing.
As the story begins, Detective McPherson is investigating well-to-do advertising copywriter Laura's murder, a particularly brutal one in her own home. While going through her things, and staring at her portrait over the fireplace, he has become smitten with the dead woman. Eric Friedman provides a striking presence as McPherson, ambling comfortably around Laura's living room as though it's his own, and he's satisfyingly broody as the inscrutable gumshoe. Jonathan Friedhoff enters as young music aficionado Danny Dorgan, the landlady's son. He is the embodiment of awkwardness, and elicits some well-deserved chuckles.
Conversely, Tricia Fox strikes the right note as Mrs. Dorgan, her matter-of-fact demeanor making her lines natural instead of veering into broad comic-relief territory. Likewise, Alexandra Champagne nicely underplays Laura's factotum Bessie. Perry Farley portrays Shelby, with a mild Southern accent that's consistent and unobtrusive. The actor, though about a decade younger than his character, is believable as Laura's fiancé, expressing both grief and anger with gentlemanly restraint. (I wondered whether Shelby was exhibiting the manners he was imbued with during his upbringing, or actually just didn't give a peach pit about anything.) Tom Akers, meanwhile, is Laura's longtime confidante Waldo: effusive, arch, erudite; full of epigrams and hogwash. Akers is perfect and hilarious in the role, vocally and physically, and the character's alternately self-deprecating, self-congratulatory wit and affectations are an enjoyable contrast to the low-key atmosphere maintained by the others.
McPherson is alone, pondering suspects, when Laura enters. She's not a flashback, a fantasy, or a ghost – she's alive! How? Well, the real victim's face had been obliterated, and using DNA as evidence was more than 40 years in the future. (Ordinarily, I refuse to inflict spoilers in this manner, but Laura's portrayer is in the program's cast list.) Dana Skiles, a Richmond Hill mainstay who also works behind the scenes in various roles, plays Laura in a shy, quiet manner. I would've liked to have seen this character exploding with energy, dominating the room. However, during an eventual dinner scene, she and the other actors were engaging and connected, and I became absorbed in the plot. The last actor to appear is Jim Strauss, who plays Detective Olsen for a fleeting but welcome droll moment – one of Strauss' specialties.
Thursday's opening-night performance was a bit rocky in spots, possibly due to nerves and/or first-time acting on a stage in the round. (I know from experience that this task requires a specific set of skills.) Some fumbled lines and slow cue pick-ups occurred in this dialogue-rich play, and at times, actors' lines were nearly identical in pacing, volume, and tone regardless of content. Also, some physical business came off as under-rehearsed. However, small performance details, including the easy way Friedman handles his hat and Laura's sprawl across the settee, help evoke the period effectively. The set does, as well, with gorgeous elements including an ornate rug, a stunning dry bar/wine cabinet, a marble-topped cocktail table, and a phonograph in a small wooden cabinet. (Who else remembers when sound systems were embedded in furniture?) Laura's smart stage touches also include the picture light over Laura's portrait. As is often the case at Richmond Hill, no designer is credited in the program, though I have my suspicions. Patrick Kelley serves as stage manager; Jim Skiles, Dana's uncle, built the set; and her father Mike Skiles is co-assistant stage manager with actor Strauss.
A wealthy career woman was a rare bird in the 1940s. I'd thought a leading lady being a successful advertising copywriter was an absurd choice for the time, until I found out that author Caspary was just that. No doubt, the story of Laura hit its first audiences 80 years ago quite differently than it hit me. But it endures in this production.
Laura runs at the Richmond Hill Barn Theatre (600 Robinson Drive, Geneseo IL) through June 9, and more information and tickets are available by calling (309)944-2244 and visiting RHPlayers.com.
