Review: A Bloody Grand Time, A GENTLEMAN'S GUIDE TO LOVE AND MURDER at Arvada

The Arvada Center for Arts and Humanities has a total hit on their hands with their latest show to take the mainstage, A Gentleman's Guide to Love and Murder. Directed by Geoffrey Kent, Arvada's production is an exhibition of theatrical excellence. There is a profound understanding of the show. They don't take it or themselves too seriously, yet deliver at a seriously high level. The nuance is in the details in their performance, captured through cohesive staging that feels natural when it needs to be natural and outrageous when it gets to be outrageous.

The artistic team has delivered 10s across the board with exceptional creative elements. Stunning hair and wig designs by Diana Ben-Kiki are enough to make a drag queen jealous. Just as noteworthy are the costume designs by Kevin Copenhaver. I have one small point of criticism regarding the scenic design by Matthew S. Crane accompanied largely by the projection design by Topher Blair. Individually, their work is outstanding, but there is something of a disconnect between the two. It was like two very different artistic thumbprints and I would have liked more of the projections' storybook-style illustrations built into the stationary elements of the set, especially in the proscenium. Nonetheless, it is all truly top-notch work. 

Choreography by Grady Soapes does well to capture the air of the comedy. It is less, "5, 6, 7, 8," and more elevated movement. Simple, effective, and campy in all the right ways. Musically, I think Music Director Alec Steinhorn could have benefitted from even just two more ensemble members to further fill out the sound. It needed a little more weight and depth in part to allow the audience to really take in the tight harmonies. So too did the orchestra sound rather thin. I think part of the issue stems from the electric keyboard which, no matter how expensive the equipment, will never sound as good as the real thing. I don't know, it stuck out to me, but I'm knit-picking. 

By and large, this cast is clocked-in and locked-in, though Sharon Kay White as Miss Shingle, I feel, misses the mark. White's take on the character is more "Dolly Levi-esque" in place of the mysterious maid with an ulterior motive and operating from the shadows. I would have appreciated a darker, if not sinister, approach. Katie Jackson reprises her role as Phoebe, offering a wonderful portrayal of the gentlewoman with a streak of corragio. Full disclosure, I was in this show with Jackson the last time she played this role. As a friend, I am so proud to see her growth as an actor, building upon her own excellence. As a critic, I am, in a word, impressed. From Phoebe's beautiful, but deadly, favorite flower to her own volition on marrying Monty, Jackson has fun playing with the given circumstances of her role. 

Adriane Leigh Robinson as Sibela is the true definition of a knock-out. Some folks make the most of their roles; Leigh Robinson makes more. Her vocals are amazing, but it's her understanding of the character's motivations that are next level. She dangles a carrot for Monty that is playful, careless, self-indulgent - and oh, so delicious. Leigh Robinson is as fierce as a lioness - and just as elegant. 

Shabazz Green as the plethora of ill-fated D'Ysquiths is a wonder to behold. Green is remarkable as the only player responsible for portraying multiple characters that are categorically different. There are layers to each of them that are so clear in their crafting. Nothing ventures too far into caricature territory either. Green is earnest, but never takes himself too seriously - and being funny is serious business. 

Marco Alberto Robinson as Monty absolutely delivers a killer performance, pun intended. Jokes aside, Alberto Robinson knocks it out of the park. He is a master of motivation with a deep understanding of how to deliver the words on the page and play with the nuance of the moment. The subtle laughter at his own thought or joke; the portrayal of being wrapped around the finger of a pretty woman; succumbing to the addictive nature of power - all of this is illustrated in his performance and delivered through a lens of humor and camp. Alberto Robinson also shows off the brighter, almost lyrical tone of his voice. It is soft, yet grounded and musical. Altogether, he is the ultimate package.

Chemistry proves to be a huge aspect in this production. The playful nature of the cast resonates from the stage and not just among the leading players. Adding their own flair to the cast of colorful characters are ensemble members Erik Brevik, Liz Brooks, Katie Drinkard, Jason Rexx, Jeremy Rill, and Madelyn J. Smith, plus Swings Joe Barnard and Courtney Kofoed. This expert-level ensemble contributes so much to the final product. Making strong choices as an ancillary character can be a difficult task, but this ensemble makes it look easy as they each make their mark.

Chemistry is further on display with real-life married couple, Adriane Leigh and Marco Alberto Robinson. Seeing them play opposite each other was a real treat. I'm sure this show will be a memory they revisit often after it is all said and done. It was such a privilege to delight in their chemistry; to witness their memories being made. 

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