By Lindsey Kelstrom
The National Tour of Tony Award–winner A Gentleman’s Guide to Love and Murder, presented by CacheArts Presents, has come to Logan’s Ellen Eccles Theatre for two nights to deliver a spectacular showcase of talent with not one, not two, but eight musically staged murders, amplified by a comedic love triangle, and yes, even a one-man act of an entire family of woebegone murder victims. The whirlwind of talent, the seamless synchronization of choreography and staging, the immaculate and challenging vocals, and the good old-fashioned orchestration of a classic time period easily make this one of my favorite theatre experiences in Cache Valley to date.
Monty Navarro (Blake Price) is the son of a poor mother who married for love and was disowned by her wealthy family. Upon his mother’s death, Navarro learns about his connection to this wealthy family and that he is only eight family members away from inheriting the title of Earl. He realizes he can hasten his ascension to Earldom through murder when his love for Sibela Hallward (Colleen Mclaughlin), a woman who wants wealth and titles, threatens to end their relationship. Thus begins his journey to stage the murders of his eight family members and to work his way into the family, falling in love with a distant cousin in the meantime. Oh, the complexities of family life.
Price as Monty Navarro plays a character who you can sympathize with like an old pal, which is no simple feat. Although he is the culprit of so many murders, he somehow lulls you into it all being justified and entertaining. His vocals are flawless, and the timing of his movements and actions shows a deep awareness of the characters, sets, and scenes he works with. I’d be friends with Monty Navarro, but I wouldn’t trust him to give me a drink, go ice skating with him, or accompany him while bee-keeping.
The female love interests are effectively different in character but equal in talent. McLaughlin as Sibella prances in pink in all her snobby glory so convincingly, it gives you a healthy dose of true high-society entitlement. Briana Gantsweg (understudy) as the distant cousin Fiona sings even better than a lark and floats effortlessly over remarkably high notes. I could listen to her voice all day. Both actresses are perfect additions and round out the plot of the story in their portrayals of these strong females.
The actor who steals the show, however, is James Taylor Odom as every family member who stands in Monty’s way of Earldom. This is a fast-paced show, seven of the eight murders being carried out in the first act, and those seven victims are all played by Odom. I’m still trying to wrap my head around how quickly he has to change his costumes and get back onstage (never out of breath, mind you), ready to act like a completely different person. This is acting at its finest — and most challenging. Odom knocks these roles out of the theatre.
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All actors and technical support for the show bring an impressive level of talent and professionalism to the show, and they have worked hard to perfectly orchestrate a thrilling and comedic performance. A small cast of 13 performers work in synchronization to hit comedic timings, pause with orchestration, and move with exactness in all the choreography like a well-oiled machine. Audiences can just sit back and enjoy the finished product of all their work.
Everything about this production is at the height of professionalism and quality. It oozes National Broadway excellence from its beautiful, elaborate, and intimate set (Alexander Dodge); the well-timed lighting cues that set the mood (Philip S. Rosenberg); and the regal and posh costumes (Linda Cho), especially the seven costumes that successfully make each of Odom’s first-act characters distinct. The well-timed choreography and staging are a successful collaboration from choreographer Peggy Hickey (who also doubles as tour director) and original director Darko Tresnjak.
The book and lyrics by Robert L. Freedman and music and lyrics by Steven Lutvak work together to tell a gentlemanly story, mostly through music that has you laughing at murder and believing that anything is possible with family. The show does contain suggestive material that may not be appropriate for young children.
My only critique for this show is that I wish it could stay here in Utah with us for longer than two nights so that more people could enjoy this charming piece of art. It leaves you without a doubt as to why this show was the Tony Winner for Best Musical in 2014.
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