‘Laura’ presents engaging play with many plot twists
By Daily Bruin Staff
Nov. 19, 2000 9:00 p.m.
 Tiffany Theater Linda Hamilton and
Robin Thomas star in "Laura," directed by Lynette
McNeill, which will run through Dec. 17.
By Andrea Dingman
Daily Bruin Contributor
Obsession sells. From Calvin Klein perfume ads to stalker movies
like “Fatal Attraction,” the concept of obsession can
be found almost anywhere.
This desperate attachment to someone or something is the main
theme in the 1940s period play, “Laura,” a murder
mystery that opened last weekend at the Tiffany Theater.
Laura, the lead character played commendably by film and
television actress Linda Hamilton, is the object of obsession for
several men. When she is found murdered in her apartment, the plot
of the play begins to thicken. The list of Laura’s admirers
grows after her death to include the detective in charge of her
case, who is intrigued by Laura’s captivating effect on
men.
The whodunit game begins immediately in the first scene, with
the aforementioned Detective McPherson, played by Robin Thomas,
astutely interrogating Laura’s mentor, Lydecker.
The guessing game continues and the tension mounts when
Laura’s would-be fiancé, Carpenter, enters the scene.
The competition between all of Laura’s admirers ends up
leaving everyone looking like they have blood on their hands.
Amidst all this chaos, the supposedly deceased Laura reappears.
As it turns out, her friend who was staying at her apartment was
murdered, not Laura. Afraid that the murderer will try to kill the
real Laura Hunt, McPherson stays with her to protect her, and in
the process, some heavy-duty sexual chemistry occurs. This only
complicates the plot, as McPherson tries to detach himself from
Laura but at the same time, he falls in love with her.
Furthermore, Laura’s maid, Bessie (Myra Turley), lets a
few cats out of the bag, and it’s discovered that she cleaned
the house after the murder to avoid incriminating Laura, making
McPherson’s job more impossible.
To make matters worse, Lydecker and Carpenter, two of the
possible suspects, are both constantly in Laura’s apartment
arguing and incriminating each other. This adds to the play’s
suspense by making each man look like the guilty suspect. With each
accusation, the audience must ponder over who the real killer
is.
The twists and turns continue, just as they should in a murder
mystery, until the requisitely shocking conclusion.
Thomas gives a multi-layered, dignified interpretation of a very
stereotyped role. His ability to portray objectivity as a detective
and emotionality as a living, breathing man, simultaneously, is
laudable.
Thomas proves to be the backbone of the cast, keeping the more
over-the-top elements of the dialogue and plot believable.
Furthermore, the script, kept intact since its film debut in the
1940s, might have become a novelty if not for Thomas’
contribution.
Hamilton also gives a strong, yet slightly predictable,
performance. Her parodies of the other characters give comedic
relief to the production, and as the performance progresses, she
becomes a more believable character.
Also, her sassy portrayal of a strong woman, according to
today’s standards as well as those 50 years ago, adds depth
to the role of Laura.
Truly, the entire cast is deserving of praise. The dynamic
between all of the members is authentic, making the timing
suspenseful.
Stanley Kamel, who plays the domineering Lydecker, has a unique
take on his character, playing him with a monotone similar to Dr.
Evil from “Austin Powers,” minus the pinky and bald
head.
Kamel’s interpretation of the calculating and conniving
Lydecker, who prides himself in having manipulated and molded Laura
into a successful executive, only to be rejected by her, is
complex, yet accessible. Lydecker’s diminishing authority
over Laura as she becomes increasingly independent and secure, is
superbly and sensitively portrayed by Kamel.
Chuckles are solicited easily by Myra Turley, who is hilarious
as Bessie. Her Irish lilt and flustered, frantic portrayal as
Laura’s maid manages to avoid merely being a caricature. The
wordless scene in which she fixes the set for the next scene,
adjusting the tablecloth repeatedly, is an expert move on director
Lynette McNeill’s part, in comparison to the traditional
scene change in the dark.
Going to see “Laura” is like stepping back in time.
The glamorous costumes and period set, along with the colloquial
script, are straight out of the 1940s.
Despite the time change, the themes found in “Laura”
are still applicable to today. The suspenseful twists and turns,
stellar performances and 1940s mystery novel style all make for an
entertaining and worthwhile evening.
THEATER: “Laura” is playing at the Tiffany Theater,
8532 Sunset Blvd. West Hollywood. Performances are Thursday through
Saturday at 8 p.m. and Sunday at 2 p.m., through Dec. 17. Tickets
are $30 Thursday through Saturday and $25 Sunday. For more
information, call (310) 289-2999.
