SUBMIT ABOUT FAQ
PEOPLE COMPANIES VENUES
LOGIN NEW USER PRODUCTIONS
REVIEWERS SIX DEGREES
A User-Driven Site for Theater in Atlanta, Georgia
Clue: The Musical
a Musical
CATEGORY :
by Joe DiPietro, Galen Blum

COMPANY : Stage Door Players [WEBSITE]
VENUE : Stage Door Players [WEBSITE]
ID# 1628

SHOWING : July 14, 2006 - August 13, 2006

[REVIEW THIS PRODUCTION]

PRODUCTION DESCRIPTION

Was it Miss Scarlet in the Lounge with the Candlestick? Or Colonel Mustard in the Kitchen with the Revolver? The internationally popular Parker Brothers board game is now a fun filled musical which brings the world's best known murder suspects to life and invites the audience to help solve the mystery. Come play along! There are 216 possible endings!


CAST & CREW LIST
Director Robert Egizio
Musical Director Linda Uzelac
Choreographer Ricardo Aponte
Sound Design Dan Bauman
Stage Manager Blake Hall
Lighting Design Amy Humes Lee
Production Manager Courtney Loner
Costume Design Jane C Uterhardt
Scenic Design Chuck Welcome
Mrs Peacock Aimee Ariel
Mr Green Brad Bergeron
Professor Plum Charlie Bradshaw
Miss Scarlet Barbara Cole Uterhardt
Mrs White George Deavours
Colonel Mustard Eric Miller
Detective Patty Mosley
Mr Boddy Joseph Swaney
Click to Submit Cast & Crew Info for this production
REVIEWS

[REVIEW THIS PRODUCTION]

Clue: The Balancing Act
by line!
Wednesday, August 9, 2006
3.0
It probably sounded like a great idea at the time to the boys and girls in New York . “Hey! Let’s write a musical based on that game everybody played as a kid!” My online research on the show indicated that it may not have been such a great idea after all. The original off Broadway production of “Clue: The Musical” ran for a scant 29 days before closing and a cast album was recorded but never released. The movie version came and went without making a ripple (or a profit). I tried desperately to find any sort of downloadable music from the show because there was one song in the second act I liked, but couldn’t remember the name of it.

I guess that should have tipped me off.

I have said in the past that I base my reviews on how well a production uses the resources available to it. Using that criteria I really want to give Stage Door’s production of “Clue: The Musical” a “5”, but this production is a perfect demonstration of theatre as a balancing act. On the one hand you have the very impressive physical production of the show, and on the other, the very weak source material the show is built on. I really hate saying this, but Stage Door’s production of “Clue” provided an “average” theatrical experience with an incredibly above average effort. I must extend compliments on the effort put forth. It truly was impressive! However, it could not totally overcome the weight of the absence of talent in the writing.

First on my list of compliments: the choreography. In this production of "Clue: The Musical" the choreography virtually saves the show! All I can say is Ricardo Aponte is a God! I have never met the man and have only seen two shows he choreographed, but he sure knows how to make movement on the stage interesting and entertaining. He also knows how to fill time with movement and not make it repetitious or boring. Without his choreography, the audience would have been the ones murdered, not Mr. Boddy.

Second: the cast. Director Robert Egizio assembled a very balanced, talented group of actors who formed a strong ensemble. While the physicality of some of the actors was not exactly what I would expect in their roles (Colonel Mustard, Mr. Green and Mrs. Peacock), all gave very solid performances. The true stand-out of the show was George Deavours as Mrs. White. A man in drag is usually guaranteed to get laughs, but Mr. Deavours brought such a wonderful characterization to Mrs. White, he stole the show! I was also impressed with the work of Patty Mosley as the ditzy detective. She brought a breath of fresh air and a burst of energy to the second act. All of the actors in this one deserve commendations. They all did a truly remarkable job of creating enjoyable characters that were fun to watch, even though they didn’t get much help from the script or the score. I would also like to compliment all of them on their vocal projection, both while singing and speaking. You might think it’s a minor thing, but it is so often missing or trails off as the performance progresses (especially in community theatre). It’s wonderful to be able to hear the actors (and I was sitting way in the back in a corner).

Third: the set and staging. Chuck Welcome is also a God! (I have never met him either, but I have seen several shows he designed).His sets for Stage Door’s productions are always clever, well crafted, functional and visually impressive. “Clue” is one of his best in my opinion. The re-creation of the board on the stage floor combined with the lid to the game on the stage left flats, plus the game pieces and the back wall entrances really let the audience know what the show was all about long before the first word is spoken. The other elements to the staging involving the characters primary colors were very clever: the different colored drinks and flashlights were especially fun.

Fourth: the costumes. These characters easily lend themselves to being swaddled in their pre-defined color schemes (purple for Professor Plum, etc.). There is also help from the design of the original board game too. I felt that each character was perfectly dressed for their part and their wardrobe was a great asset to the actors by portraying the character’s personality to the audience. The only negative was that Mrs. Peacock’s skirt seemed to be too tight for the actress. It impeded her ability to move and because of her short stature, the desired effect of a fabulous babe in a tight skirt didn’t quite come off. Instead of being sexy, it looked to me like it just didn’t fit too well.

Fifth: director Robert Egizio. I have to admit the guy knows where to point the spotlight. What I mean by that is: he knows what to accentuate and what to minimize. If you’ve got a less than strong book, give the audience something to look at. Compensate by filling the audience’s eyes with dancing and visual wonders. Make sure you have good vocal talent to make the absolute most of the music. I’d be willing to bet that if you were to ask any audience member what they remember most about the show, they would most likely say something visual. I have my doubts that many would recall any of the songs (even the ones that were reprised over and over). And in my opinion, in a musical, that is fatal. If he had assembled anything less than the production team, and talented cast he had, the audience wouldn’t have had a clue of what they had paid for.

Sixth: musical director Linda Uzelac. The woman is the eighth wonder of the world! I have also never met her, but have seen several shows she has been musical director for. She always puts 110% into the show. She single-handedly (OK, she really used both of her hands) provided full orchestration for the entire show and managed to work her way into a speaking part too!

In conclusion, I hope you will go see “Clue: The Musical” it is great to see so much craft being used so skillfully. It is just a shame to see it used on this material.
-Rial
[POST A COMMENT REGARDING THIS REVIEW]
Why didn't Robert choreograph? by Okely Dokely
Usually he also choreographs when he directs. This is only the second time in 4 years and 10+ shows he's directed that I remember him directing but getting someone else to choreograph.


[REVIEW THIS PRODUCTION]

OPENING SOON
Man of La Mancha
by Dale Wasserman, Joe Darion, and Mitch Leigh
Capitol City Opera Company
Stealing Home
by Pat Cook
Live Arts Theatre
CLOSING SOON
Man of La Mancha
by Dale Wasserman, Joe Darion, and Mitch Leigh
Capitol City Opera Company
NOW PLAYING
9 to 5: The Musical
by Songs by Dolly Parton, Book by Patricia Resnick
Onstage Atlanta, Inc.
August Summer Harvest 2016, The Lakeside Plays
by jpbeck
Onion Man Productions
God of Carnage
by Yasmina Reza
Pumphouse Players
Improv Monster
by Jackpie Theatre Workshop
Jackpie Theatre Workshop
Once Upon a Murder
by Marc Farley
Agathas: A Taste of Mystery
The Bridges of Madison County
by Marsha Norman (book) & Jason Robert Brown (songs)
Aurora Theatre
The Foreigner
by Larry Shue
Lionheart Theatre Company
The Legend of Georgia McBride
by Matthew Lopez
Actor's Express

©2012 TheaterReview.com. All rights reserved.