By Charlene Baldridge

Once upon a time, when Jerry Patch was artistic director at the Old Globe, he instituted a program in which that august institution took a new look at classic plays or more recent fare that in his opinion had not been given a fair shake the first time around. It was a grand idea that resulted in many fine new looks, including the recent production of John Guare’s “Six Degrees of Separation.”

Currently in production and bidding farewell to the Globe’s temporary Arena Stage at the San Diego Museum of Art’s remodeled Copley Auditorium, is a new look at Charles Ludlam’s 1984 comedy “The Mystery of Irma Vep.”

The original off-off-Broadway production took place at Ludlam’s Ridiculous Theatrical Company and starred Ludlam and his longtime partner, actor and costume designer Everett Quinton. Between them, they played all eight characters in the penny dreadful melodrama, a send up of film (largely Alfred Hitchcock’s “Rebecca”) and theater that embraces such elements as vampires, werewolves, ghosts and the mysteries of Egypt. Irma Vep is an anagram for “vampire.” Ludlam once said that their intent was to play the piece, written for two actors, very seriously but in camp style.

In the Old Globe production, which stars Jeffrey M. Bender in the Ludlam roles and John Cariani in the Quinton roles, director Henry Wishcamper places emphasis on the serious component of the original intent, with nary a wink at camp. Granted it is exceptionally intellectual camp and this is the Old Globe. Curiously, with a few bumps and grinds, Wishcamper makes the play’s covert sexual innuendo overt.

Lady Enid Hillcrest (Bender) has recently wed the widowed Lord Edgar Hillcrest (Cariani) of Mandecrest manor. The lord is landed gentry with an avid interest in Egyptology. In his employ is former governess now housekeeper Jane Twisden (also Bender). Cariani’s Jane is a sour spinster with a penchant for elongated n’s and m’s and a deliciously nasty, nasal twang. One of this production’s highlights is a vocal duet accompanied by dulcimer, sung/played by Lady Enid and Jane. Bender’s Enid is a great, heavily bosomed, gawping female, hilarious by mere juxtaposition with Cariani’s diminutive Sir Edgar, whose moustache keeps slipping and who gets lost continuously in her enormous décolletage.

Bender also portrays the dim-witted hunchback, Nicodemus, who transforms by the full moon, apparently, into the werewolf held responsible for the deaths of Irma Vep, the former Lady Hillcrest, and her son, Victor.

The wonderment of the play lies in two men making quick changes and vocal adjustments as in quicksilver fashion they exit as one and then instantaneously re-enter as another. In a smaller space, such as the former Cassius Carter Centre Stage, everything would move as “Irma” should, quickly and quicksilvery. Here, because of the long distances each actor must gallop, the pace drags despite their amazing skills.

Then there is the matter of camp and its definition. Underlying camp is a secret to which the audience must be privy — that the actors, despite their seriousness, are amused at their own ability to send up and emote all this ridiculous stuff.

Jenny Mannis’s costumes are exceptionally apt, especially Lady Enid’s satin and roses ball gown. Robin Vest’s scenic design stretches from sea to shining sea, a bit redolent of the attic in the Globe’s recent production of “The Price.” The program page declares the play set “between the two wars” – presumably between the two world wars. Paul Peterson’s sound design is a romp and a half, riffing between musical depictions of tempests, Hollywood bodice rippers and Egyptian kitsch. Jason Bieber’s lighting is also amusing, placing emphasis on the manor’s portrait gallery and freezing characters at moments of possible revelation. But as they say, it’s all ridiculous and great fun.

“The Mystery of Irma Vep” continues through September 6 at the Old Globe’s Arena Stage at James S. Copley Auditorium, San Diego Museum of Art in Balboa Park. Tickets are $29-$59. For more information, call (619) 23-GLOBE or visit www.theoldglobe.org.

Charlene Baldridge

Freelance Arts Writer

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