Theater Review—

‘Ravenscroft’ By Town Players

Is A Pleasant Surprise

By Julie Stern

Don Nigro’s Ravenscroft — billed as “an intriguing gothic thriller set in a secluded English Country Manor … frighteningly funny” — may sound like something you’ve seen before, but you probably haven’t.

The title and the blurb bring to mind one of those creaky imitations of Rebecca, with perhaps a vampire or two thrown in. Instead, this production by the Town Players is a pleasant surprise, taking a time-honored genre and turning it on its head.

In the middle of a snowstorm, a police inspector arrives at a remote English manor house to investigate the untimely death of Patrick Rourke, a young gardener-footman-handyman who allegedly fell down the stairs and fractured his skull. The house is filled with women, and each one is a potential suspect: the rich young widow of Lord Ravenscroft, who fell to his death in the same way only three months ago; Marcy Kleiner, a beautiful but aloof Austrian governess; Miss Ravenscroft, her psychologically unhinged teenaged charge; Mrs. French, the sharp tongued cook; and Dolly, the mentally challenged maid. Each one is happy to confess to killing Patrick, but their stories conflict, and there are vague references to a ghost in a white gown.

While the confident and assertive Inspector Ruffing is determined to get to the truth and solve the mystery, the five women persist in questioning him in ways that probe disturbingly into the dark recesses of his own psyche.

Christopher Bird is terrific in the role of the increasingly harried inspector, who sprawls in his chair as he works his way through a bottle of wine that was offered as a before dinner drink. Elspeth Poile brings a streak of humor to the play in the role of Dolly, whose desperate facial contortions by turns communicate alarm, sullen resentment, and coy flirtatiousness.

Mary McFeely as the governess, Sheri Bresson as the widow, Alexandra Napier-Ruzek as the “mad” teenager, and Teresa Moran as the cook all handle their roles very well.

Director Karina Ramsey conveys the oppressive presence of so many women on the inspector’s consciousness by having each one float silently onto the stage whenever her name is mentioned by someone else. Thus they are all, always there, filling the stage without upstaging the speaker of the moment.

While the story of Patrick eventually sorts itself out, the distraught policeman is nearly undone by the time he learns “the absolute truth.”

(Performances continue on weekends until July 28, with Friday and Saturday evening shows and Sunday afternoon matinees.

There is also a special Thursday evening performance planned for July 26. Tickets are $18 for the evening shows and $15 for the matinees

Parents should note that this play contains mature themes and is not recommended for young children.

Call The Little Theatre at 270-9144 for additional details and reservations.)