Review: Richardson Theatre Centre's ANATOMY OF A MURDER is an insightful, immersive experience for theater-goers

 ANATOMY OF A MURDER

By Elihu Winer
Based on the novel by Robert Traver
Directed by Rachael Lindley
Produced by Richardson Theatre Centre

Audience Rating: PG-13
Accessible Seating: Available
Hearing Devices: Not Available
Sensory Friendly Performance: Yes
Production Sound Level: Comfortable Sound Level
Noises or Visuals to Prepare for: n/a
Running Time:  2 hours & 15 minutes, plus 15 minute intermission

A Prosecution Slam Dunk?

Defeated in the election process prosecutor Paul Biegle (Ted Strahan) resists taking on a case in his new role as defense attorney since he sees it as a slam dunk for the prosecution. Pressed and assisted by his long-term, retired lawyer friend Parnell McCarthy (Budd Mahan) Biegle reluctantly agrees. Army non-com Frederic Manion (Christopher Dean) is charged with murder in the death of a bar and hotel owner after the rape of Laura Manion (Laura Lester,) his wife. Prosecutor Mitch Lodwick (David Kelton) brings in Claude Dancer (Douglas Kent) as his second chair in the trial, resulting in several contentious moments that require the intervention of Judge Harlan Weaver (David Horan). The Court Clerk (Elizabeth Niksich) keeps everyone on track. 

Myriad characters pass through the witness stand including Mrs. Manion (Lester), bartender Alphonse Paquette (Lloyd Webb), Coroner Helen Raschid (Emily Cole), Police Photographer Wilma Burke (Nancy Pistilli), Detective Sgt. Durgo (David Noel), and two psychiatrists. Dr. Harriet Gregory (Rhonda Triana) represents the prosecution, with Dr. Margaret Smith (Lucia Welch) for the defense. The final character, Mr. Lemon (Robert Sims) only appears in the final scene but has a big impact on the outcome.

Courtroom Drama can be heavy on dialogue and light on action, but playwright Elihu Winer has built sufficient conflict between these characters to generate plenty of breaks in the dialogue. Strahan’s Beigle and Kent’s Dancer take their objections from verbal to face-to-face with choreographed body language. Presiding over the sparring, Horan is measured with sporadic gavel pounding to return the courtroom to his control. Dean and Lester as the Manions are layered with questions. Is he volatile or is he protective? Is she a victim or is she a manipulator? Kelton’s Lodwick should be cocky as newly elected prosecutor, but his nervousness helps explain the introduction of a second chair.

Mahan (McCarthy) is the first character onstage. Very much at home in his friend’s office, his demeanor immediately puts the audience at ease. Each time he returns to the stage we feel that ease as McCarthy provides the through lane for keeping the story moving. As the witnesses appear each reveals themselves. Webb’s Paquette is a little smarmy. Is he dishonest or nervous? Cole’s coroner is all competence and no-nonsense. Noel’s detective is by-the-book. Welch’s Dr. Smith is old-school professionalism. Triana’s Dr. Gregory is superior and condescending.  Pistilli’s police photographer and Sims’ trailer park manager inject moments of humor. Each of these actors makes the most of their onstage moments.

Director Rachel Lindley marshals this large cast in RTC’s small space with a sizeable assist from Resident Set Designer Greg Smith who made the most of every available acting space including the aisles between the seats. The judge’s bench doubles as the bar, the court clerk’s table doubles as customer seating in the bar, counsel tables double as lawyer’s offices, and the front row of the audience becomes jury seating. The transitions are seamless. Costumer Deborah Key, assisted by Rhonda Triana, introduced us to each of these people with character and period appropriate costumes. Rusty Harding did Sound Design. Kenneth Hall did Lighting Design. Robert Sims served as Sound/Light Operator. 

Written by Winer, the play script was based on a novel written by John D. Voelker under the name Robert Traver. Voelker was a lawyer and prosecutor who eventually became a judge on the Michigan Supreme Court. First adapted for film, Anatomy of a Murder was produced by Otto Preminger in 1959, starring Jimmy Stewart, Lee Remick, Ben Gazarra, and George C. Scott. The stage script was completed in 1963. 

North Texas area stages have been full of murder mysteries this season. It was refreshing to see one set in the US in the 1950s. Anatomy of a Murder continues at Richardson Theatre Centre through November 10, 2024. Tickets are available online at richardsontheatrecentre.net or by calling the box office at 972-699-1130. RTC is a small house and performances often sell out. If you delay, you may never find out which direction this mystery twists.

Experience Live Theatre

Glynda Welch