“Murder ReWrote” reviewed by Julia W. Rath

***** “Murder, She Wrote” aired weekly on CBS television from 1984 to 1996 and featured Angela Lansbury as mystery writer Jessica B. Fletcher, a super sleuth, who always found herself at the heart of a crime scene. In every episode, a murder occurs; the police detective is clueless; and—surprise of all surprises—the famed novelist meticulously discovers who the perpetrator is and exactly how the crime was committed.

Over a quarter of a century later, Hell in a Handbag Productions has resurrected this popular TV show by creating a spoof on its characters and plotlines. In this world premiere performance called “Murder, ReWrote”, the original classic has been brilliantly transformed into a musical with the introduction of eleven new songs. Lovingly written by Ed Rutherford, with music by George Howe and lyrics by Rutherford and Howe, the show is a stroke of genius! While singing and dancing inject humor and lightness into the performance, it is the addition of adult themes and dark humor associated with criminal intent that makes us laugh nearly nonstop. From the moment when clever words have been put to the TV show’s theme song to the very end when we anticipate seeing the elderly woman put the clues together to solve some sort of murder, the production does not disappoint—thanks in large part to the fine direction of Anthony Whitaker and music direction by Andrew Millikin, who is also the pianist.

Unforgettable is the singing and acting of Britain Gebhardt in the role of Bessica Feltcher, a carbon copy of the original protagonist Jessica Fletcher, complete with her trademark manual typewriter. In this parody, we follow her latest round of exploits. Bessica’s nephew Grady (Grant Drager) drives Bessica to the home of June Crayfish, a swarthy combination of Jane Mansfield and Joan Crawford, sharply acted by artistic director David Cerda. At the mansion, they meet up with Crayfish’s (adopted) daughter Christina (Tyler Anthony Smith), Crayfish’s social secretary Carol-Ann (Ed Jones), their maid Helga (Mark Bartishell), and Crayfish’s ill-tempered cat Muff-Muff (Cathy Reyes McNamara as puppeteer). The relative innocence of Feltcher and Grady  must be contrasted with the peculiarities of the rest of the characters living in the house. Since all seem odd or abnormal in one way or another, each one appears to be a likely suspect of some crime, even before anything untoward takes place. Later on, Christina’s business associate Sal Ciabetta (Matt Patrick) and Detective Marigold (Caroline Kidwell) are introduced, but now I’m getting ahead of myself.

By perusing the actors’ names, you can guess upfront that this performance contains a lot of drag, which is one reason why the tale never drags! Costume design by Madeline FeLauer is wonderfully imaginative as is the smart wig design by Keith Ryan, wig maintenance by Brian Katz, and crafty makeup design by Sydney Genco. Choreography by Jamal Howard is lively and fun. Sound design by Miranda Cable is excellent, and lighting design by Liz Cooper is exactly what it should be in order to delineate distinct scenes. Scenic designer Rose Johnson has done a nice job with creating a relatively flexible set on such a small stage, while prop designer Cosmo Kay has introduced just enough furniture so that interiors can be believable. I especially liked the pantomime of a car in motion in two different scenes. The musical is also replete with commercial breaks, where some of the darkest humor takes place. Bartishell is outstanding not only as Helga but in portraying several minor characters in these advertisements, together with quick costume changes. While watching the commercials on TV were once a reprieve from following the investigation of the murder, the commercials in this version hint at how best to commit one.

Like picking up a good Agatha Christie novel, this highly entertaining takeoff on detective fiction is sure to engage you whether you are a newbie or previously familiar with the story arc. The audience can easily figure out the underlying premise: that wherever Bessica goes, murder is sure to follow. A big fan of the classic TV show (still in reruns on the Hallmark Channel), my guest was anxious to join me to watch the performance; whereas the fellow sitting to my right was much younger than me and knew nothing about the original series. As he put it, “I have a stupid sense of humor, and I love this!” The show is so engaging that audience members cannot help but speculate on the ending during intermission. So before the whodunnit becomes a “Who Did It”, we observe how the characters are all at the “right place at the right time” with a likely motive plus the opportunity to have done the deed. Having the audience figure this out is, in large part, what makes the story tick. Go ahead and see it!

“Murder, ReWrote” is playing through September 16, 2023 at The Den Theatre (Upstairs Mainstage), 1331 N. Milwaukee Avenue, in Chicago’s Wicker Park neighborhood.

Tickets are $36 general admission in advance; $39 at the door; and $26 Thursday special.
$56 VIP/reserved seating with drink ticket.
Group rates: $30 each for 10 or more.

Performance schedule:

Thursdays, Fridays, and Saturdays – 8:00 p.m.
Sundays – 3:00 p.m.

For more information and to purchase tickets, see:
https://thedentheatre.com/performances/https/ciovationtixcom/35386/production/1164454

To see additional details about this and other offerings by Hell in a Handbag Productions, please visit:
https://www.handbagproductions.org/

To see what others are saying, visit www.theatreinchicago.com, go to Review Round-Up, and click at “Murder ReWrote”.