By Tanya Batson-Savage, Staff Reporter
From left: Christopher Daley (Dr. Mitchell), Audrey Reid (Arlene Miller) and Calvin Morris (Paul Miller) form a hilarious trio in Ron Clark and Sam Bobrick's 'Murder at the Howard Johnson', playing at the Pantry, New Kingston. - Ricardo Makyn / Staff Photographer
MURDER AT the Howard Johnson is pure, unadulterated farce. The plot is ridiculous. The characters are ridiculous. And that is just great, because it is farce.
Using a cast of three and with a room in 'The Howard Johnson Hotel' being the only scene, the production is perfect for the small stage at the Pantry Playhouse in New Kingston.
Originally a North American production, Murder at the Howard Johnson was written by Ron Clark and Sam Bobrick. The play has been lightly transposed (in that is the language has been changed so that most of the production is in Jamaican creole).
Murder at the Howard Johnson is ably directed by Pablo Hoilett, who made wonderful use of the creative talent of Christopher Daley (Mitchell Lovell), Audrey Reid (Arlene Miller) and Calvin Morris (Paul Miller). Nadia Khan alternates in the character of Arlene.
Christopher Daley gives an absolutely brilliant performance, a great follow-up to the performance he had given in Cindy-Relisha and the DJ Prince last year.
Throughout most of his adult performances Daley has played the idiot. In the last three years, with Jambiz Productions, he has bounced from one idiot to the next, finally culminating in the biggest of them all, Simple Simpleman.
Murder At the Howard Johnson presents a distinct departure from these productions. As Lovell, Daley plays a dentist who is in love with the wife of one of his patients. As a result, he needs to tap into a very different kind of performance; Lovell is ridiculous, but he is not an idiot.
There are a few lines where the timing needs to be perfected, but this is only noticeable because the rest of the performance ticks along so well. In comedy, and especially in farce, timing is everything. Daley's timing is apparently down to a fine art.
Reid's portrayal of the desired wife helps to bring down all the farce a notch, though it does not ease down on the comedy. A very talented actress, Reid does a beautiful job portraying the adulterous wife and she and Daley create pure magic on the stage.
Unlike the two male roles, Arlene does not require exaggeration and her character is able to work as straight comedy. Rather than sticking out, the character brings balance.
Though he also gives a very funny performance, Calvin Morris is the weakest of the three actors. His range is shorter and many of his lines are delivered in the same manner. However, the role of Paul is suited to his skills. As such, it is a very good mix.
The plot is far too convoluted to give too lengthy an explanation of it - and if one did, it would ruin much of the laughter. Suffice it to say that there is a murder and it takes place at the Howard Johnson. The rest is a laugh waiting to happen.
At the centre at this drive for murder is a very dysfunctional love triangle. Arlene and Paul are husband and wife, though by her behaviour with Paul, it seems no one has mentioned that little detail to her.
Murder At the Howard Johnson's success rests heavily on the performances, as not much effort is placed into either the costuming and set, which barely pass the stage of adequacy.
Murder at The Howard Johnson is pure farce from beginning to end. To achieve full enjoyment, it is probably best to check all brain cells at the door and prepare to laugh to your heart's content.
