Hoof’n’Horn wows with ‘Drood’

The Mystery of Edwin Drood thoroughly surprised me. A play with multiple endings? That sounds intriguing yet impossible. It isn’t. The cast of this show does such a great job that its successful execution is far from impossible; it is natural.

The first thing I noticed was the absence of my name in the program. One great thing about this musical is the cast’s superb ability to engage and incorporate the audience. Granted, the show’s ending is designed to be decided by the audience (and thus requires the talented cast to learn multiple endings), but the cast of Drood took it many steps further. Even before the play started, I had multiple characters come up to me and tell me turn off my “magic sound-creating box,” or to ensure I booed the villain in the red tie. The minute the cast comes out, expect to be as much a part of the performance as they are.

Everyone in the cast performed well, and their dynamic was flawless. Their natural chemistry can be illustrated by their recent end-performance with three lovers, an ending neither written nor practiced, but one successfully pulled off by superb improv from the cast.

There were many actors who stood out. Alex Brockhoff, who plays Reverend Crisparkle, took his peculiarity to heart but portrayed it in classic metatheatrical fashion. I chuckled at his absurd, mischievous gazes into the audience and admired his ability to pull it off. Additionally, Katy Warren, who plays Edwin Drood, stood out. After making it amusingly clear that despite her ponytail, she was in fact playing the part of a man, she portrayed it naturally. One of my favorite moments in the play was her proud stride across the stage with a dog in hand when the cast chose to kill Drood. Her snooty strut was hysterical, and I was thoroughly amazed at her ability to control the dog so well. Matt Akers, both the chairman and the mayor, also performed well. He did a fantastic job of integrating himself into the story as mayor while still separating himself as narrator, throwing witty jabs at fellow cast members. He impeccably holds the play together through commentary and jokes, making him one of the strongest actors of the cast. Another standout actor was Tyler Pease, who plays John Jasper, the “obvious” villain. Like Brockhoff, he too embraced the idea of metatheater with an over-the-top portrayal of his split character giving wide-eyed stares that consistently induced laughter.

There were only a few minor issues with the musical. There weren’t any standout musical numbers or performers. The songs were pleasant and the ensemble and soloists were respectable, but there was never a moment when I turned to the person next to me commenting, “That girl’s got pipes!” The cast had trouble finding some of their notes, especially during the “Moonfall Quartet,” but the show’s passable musicality was surpassed its incredible cast.

This is a show everyone will utterly enjoy. The integration of the audience with a unified and energized cast is perfect. Although you may not remember the songs when you exit, you’ll remember the immense amount of fun you had.