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Review: 'The Mystery of Irma Vep'

Dito Van Reigersberg and Luigi Sottile give it all they've got, then come up with some more, in this super-whacko version of "The Mysetery of Irma Vep" at Act II Playhouse. Inquirer theater critic Howard Shapiro reviews from Ambler.

Review: 'The Mystery of Irma Vep'

Blog Image
Luigi Sottile and Dito van Reigersberg in "The Myster of Irma Vep" at Ambler's Act II Playhouse. Photo by Bill D'Agostino.

By Howard Shapiro
INQUIRER STAFF WRITER

Oh, to have been a fly on the wall during reheasals for the frantic production of The Mystery of Irma Vep, which is unraveling, or detonating, or maybe mushrooming, on the stage of Ambler’s Act II Playhouse.

But it would have been nihilistic — I’d be splattered within moments of landing on the scenery. This version of Charles Ludlam’s classic quick-change goof gets funnier as it moves into a second act that just can’t stop, with more stage business than a Shubert Organization exec.

Any two actors (and their director) who put on this “penny dreadful,” as the late Ludlam called it in the subtitle, are empowered to plan a night of action. At Act II Playhouse, they exhaust themsleves. But then again, not just any two actors and director are staging this piece, which is snowflake-light and just as transient, begging to be fleshed-out with schtick.

This Irma Vep, the story of a wacky manor house in England, is the work of Act II’s associate artistic director, Harriet Power, and two agile and go-for-broke actors, Dito van Reigersberg and Luigi Sottile — each as much at home with Shakespeare as with, well, obviously, this.

Van Reigersberg, a genuine original, is one of the founders, and a co-artistic director, of the city’s outre Pig Iron Theatre Company, known as well for his acting as for his monthly nightclub act in drag as the character Martha Graham Cracker. To see the imposingly tall performer in Irma Vep before a suburban audience is some kind of statement — the first possibility that comes to mind is, we're not in Kansas anymore.

With his eyes googly or sinister or haltingly shy, he plays the manor’s mistress, its pig-farming aide, an Egyptian fixer and an entombed beauty. Opposite him — or in concert, depending on the character — is Sottile, who has many roles at People’s Light, the Wilma and Lantern theaters and others behind him. Sotille is as dashing as the master of the mansion as he is stiffly prim as the mansion’s maid.

Together, they tease the audience, change characters in a flash (hooray to the unseen dressers, Lauren Myers and Kristen Watts), break into song out of the blue while accompanying themselves on instruments,  and generally spin grand nonsense about a dead woman named Irma Vep.

Their acting stands out in a play that calls for that — and in this case, Power, the director, has them both not just chewing the scenery but feasting on it. (The impressive sets for Act II’s compact stage space are by Dirk Durossette.) Given the inventive and improvisational talents of the two actors, I’d like to know what they came up with that Power decided to leave out. But I would have had to be that fly on the wall, hanging on for dear life, and I wouldn’t be here to tell about it.
 
Contact staff writer Howard Shapiro at 215-854-5727, hshapiro@phillynews.com, or #philastage on Twitter. Read his recent work at http://go.philly.com/howardshapiro. Hear his reviews at the Classical Network, www.wwfm.org.
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The Mystery of Irma Vep: Presented by Act II Playhouse, 56 E. Butler Ave., Ambler, through Nov. 20. Tickets: $27-$33. Information: 215-654-0200 or www.act2.org.

About this blog
Toby Zinman's night job since 2006 is theater critic for the Inquirer. She also is a contributing writer for Variety and American Theatre magazine. Her day job: Prize-winning prof at UArts, author of four books about four playwrights (Rabe, McNally, Miller, Albee), and doer of scholarly deeds (winner of five NEH grants, Fulbright lecturer at Tel Aviv University, visiting professor in China). Her 'weekend' job as a travel writer provides adventure: dogsledding in the Yukon, ziplining in Belize, walking coast-to-coast across England, and cowboying in the Australian Outback.


Wendy Rosenfield has written freelance features and theater reviews for The Inquirer since 2006. She was theater critic for the Philadelphia Weekly from 1995 to 2001, after which she enjoyed a five-year baby-raising sabbatical. She serves on the board of the American Theatre Critics Association, was a participant in the Bennington Writer's Workshop, a 2008 NEA/USC Fellow in Theater and Musical Theater, and twice was guest critic for the Kennedy Center American College Theater Festival's Region II National Critics Institute. She received her B.A. from Bennington College and her M.L.A. from the University of Pennsylvania. She also is a fiction writer, was proofreader to a swami, publications editor for the Women's International League for Peace and Freedom, and spends all her free time working out and driving people places. Follow her on Twitter @WendyRosenfield.


Jim Rutter has reviewed theater for The Inquirer since September, 2011. Since 2006, he covered dance, theater and opera for the Broad Street Review, and has also written for many suburban newspapers, including The Main Line Times. In 2009, the National Endowment for the Arts awarded him a Fellowship in Arts Journalism. Thames & Hudson released his updated and revised version of Ballet and Modern Dance in June, 2012. From 1998 to 2005, he taught philosophy and logic at Drexel, and then Widener University. He also coaches Olympic Weightlifting for Liberty Barbell, and has competed at the national level in that sport since 2001.


Merilyn Jackson regularly writes on dance for The Inquirer and other publications. She specializes in the arts, literature, food, travel, and Eastern European culture and politics. In 2001, she was dance critic in residence at the Festival of Contemporary Dance in Bytom, Poland; in 2005, she received an NEA Critics’ Fellowship to Duke University’s Institute for Dance Criticism. She likes to say that dance was her first love but that when she discovered writing she began to cheat on dance. Now that she writes about dance, she’s made an honest woman of herself, although she also writes poetry.

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