The only way to enjoy Charles Ludlam’s The Mystery of Irma Vep is to completely surrender to its insane charm. If this play can’t be called “the kitchen sink,” then no theatrical endeavor could claim it. Irma Vepcontains almost everything imaginable: from aristocrats to servants, mummies, vampires, werewolves, scientists, Egyptian guides and all sorts of wives, both living and dead. Added to this lunacy, the play’s pacing is so fast that the audience’s multiple waves of laughter threaten to drown out some of the funnier bits of dialogue.
Vep’s literary allusions are multiple, too. The play borrows snatches of dialogue and snippets of text ranging from Shakespeare to Edgar Allen Poe. There’s more than a hint of film noir, too, as Vep owes its plot to vintage movies such as “Wuthering Heights” and “Rebecca.”
As a finale to its current season, Next Act Theatre revives a 2008 production of Irma Vep. According to Next Act’s producing artistic director David Cecsarini, who also directs this year’s version of Vep, the company wanted to appease the throngs of playgoers who were turned away after the earlier production became a runaway hit. Even adding three weeks of performances in 2008 still couldn’t accommodate the crowds.
And then there’s the “John McGivern” factor. McGivern, who seems omnipresent with his regular appearances on local TV, radio, stage and film, is undoubtedly one of Milwaukee’s best-known celebrities. His legions of loyal, devoted fans will basically see anything in which McGivern appears. In the case of Irma Vep, they are in for a treat.
McGivern reprises his role as one of the two actors who comprise the play’s entire cast. They must be nimble quick-change artists, as the two men play eight roles (about equally split between both sexes). With veteran actor Norman Moses as the play’s other half, both men are well-suited to the task. McGivern initially appears as Nicodemus, the dull-witted handyman who lives in the estate’s barn. Moses wastes no time in doing a cross-dressing role as he first appears as Jane, the estate’s housekeeper.
The estate is located in a remote area of England. Its master, Lord Edgar (Moses), has recently re-married after the tragic death of his first wife, Irma Vep (as explained later in the play, the name is an acronym for “vampire”). Her replacement is Lady Enid, who tells Jane of her younger days when she was on the stage.
As Enid, McGivern hams it up to the max. His mincing walk and smirking features will be familiar to those who have seen his cross-dressing roles in the past. The two actors work well together, making for a satisfying evening of theater.
No production of Vep could be successful without its musical score, expertly performed here by organist Matt Zembrowski. Likewise, the craziness of the characters and script must be tamed by a traditional set. In this case, set designer Rick Rassmussen’s authentic-looking, wood-paneled library more than fits the bill, especially with Alan Piotrowicz’s lighting.
Not to be outdone by the other production elements, Marsha Kuligowski’s costumes are especially eye-catching. One hopes that they are sturdy as well, given all the play’s quick costume changes.
It’s easy to see why Vep has become the most popular of the late Charles Ludlam’s plays. It’s a complete delight from beginning to end.
