A MUST SEE
(CAUTION – SPOILERS)
While the original Broadway cast of Wait Until Dark might not quickly come to mind, who can forget the outstanding cast and performances (Best Actress Oscar nominee Audrey Hepburn, and <should have been Best Supporting Actor nominee> Alan Arkin) in Terence Young’s 1967 screen adaptation? It is the story of the blind girl, Susy Hendrix, three con men, and a child’s doll stuffed with smuggled heroin. It is a brave director who chooses to take on such a legendary piece.
In this case, the brave director is Carl daSilva, and his presentation of Wait Until Dark at the Long Beach Playhouse’s Studio Theatre succeeds in entertaining on many levels. First…the actors: Kate Woodruff as heroine Susy is superb. There will always be the inevitable comparison to Ms. Hepburn, but Ms. Woodruff makes this role her own and is completely believable as the terrorized blind woman who ultimately triumphs over evil. That evil comes specifically in the form of one Harry Roat, Jr., brilliantly played by Anthony B. Cohen in a chilling performance. The beatnik thug portrayed on screen by Alan Arkin is morphed here by Mr. Cohen into a smooth talking Hannibal Lecter-esque character whom this theater patron found both intriguing and, by the end, utterly frightening (see the show and you’ll get what I mean). Other standout performances include Tara Lynne Barr, as Susy’s young neighbor, Gloria, who helps her uncover the truth and best the bad guys; Mike Jensen as Mike Talman, who eventually abandons his con of Susy, perhaps just a bit too late; and Walter DuRant as Sergeant Carlino, the least likely of the three cons to succeed.
Wait Until Dark is a challenging production to stage in that lighting plays a significant part in its success, particularly in the final and most suspenseful scene, which takes place in total and/or near total darkness. Danny Driskol does an excellent job at the lighting helm, and daSilva navigates his actors well through this challenge, the absence of light drawing the audience right along for the ride. Also notable is Jesse GrothOlsen’s sound design, and Donna Fritsche’s 60s era costumes.
Overall, this is an excellent production with a great cast in a fun venue for a reasonable price. What more could you ask for?