Guest Review: "Clue The Musical" at Driftwood

Nicole Roundy, Doug Harkness, Royce Napolitino in "Clue, The Musical" 
at Driftwood Theatre (photo Dale Sutton)

CLUE, THE MUSICAL

Driftwood Theatre

Through April 6, 2025

Guest Reviewer Kelly Rogers Flynt

As the characters from the classic board game come to life and break out of the box and onto the stage with Edmonds Driftwood Players, they invite the audience to play detective and unravel the mystery of who, how, and where Mr. Boddy is murdered. Through music, dance, and witty dialogue, clues and hints are revealed and bring you closer to the answer. Entertaining, engaging, and marvelously fun, the musical delivers immersive theater to the whole audience.

The show proceeds as if the game were being played by the audience, including the sound effect of rolling dice between each move. The killer, the weapon, and the room are selected by random audience members and placed in a giant "confidentail" envelope on the side of the stage. The cast then adjusts the show to fit those results. Mr. Boddy, acting as narrator, gives you hints of motives and opportunities of the characters. Some are clear, some with a caveat, but all bring you closer to solving the mystery.

The cast understands the assignment and leans into the stereotype of their individual characters. The best part is the balance among them. They truly perform as an ensemble and work as a unit. Yet individually there are some special touches.

Heather McGuire’s deadpan delivery of comedic lines is outstanding. Anabel Chacón’s fluidity and movement as Miss Scarlet is simply beautiful. Cassidy Fiallkiewicz as the Detective is a breath of fresh air and another layer of humor as the show progresses. Doug Harkness as Colonel Mustard always makes a memorable entrance. Mr. Green is a character that has more nuance that I thought, especially the way that Jess Stoddard portrays him. Nicole Roundy’s performance of Mrs. Peacock is one that continuously sways you from guilty to innocent and back again. Scott McKinstry as Professor Plum gives you ample reasons to hope he is not the murderer. His transition from academic snob to a romantic hopeful is a most welcomed twist. And Royce Napolitino as Mr. Boddy is the consummate host and narrator, knowing how to hold the audience with a single twitch of his brow. It is especially nice to see so many of the cast making their debut with the Driftwood Players.

The production value is off the charts, and a theater of any size would be happy to have such a detailed, coherent, and innovative scheme. Director Anna Doepp presents a vision and most importantly gets the entire artistic team and cast to understand that vision. It is this successful collaboration that makes the show a success. Production Design by Chris Ertel is noteworthy immediately upon entrance.

However it is the functionality of the set that is truly the masterpiece here. Not only is it clever in its simplicity, but it creates opportunities for choreography while simultaneously reducing or eliminating pesky set transitions as the show takes place in so many different rooms.

Props by Michelle Loon and Nancy Johnson create a lush dinner table and provide the amusingly oversized murder weapons. Breanne Pancarik’s costume design is clear, precise, and just plain fun. Technical Director Brian Fletcher and Sounder Designer Henry S Brown, Jr. combine to produce those magical extra touches that make the show shine.

This production takes you away from the chaos of the world and the mundane details of everyday life and allows you a couple of hours to laugh, to engage, and to enjoy. Normally, I would suggest that you see this show, but alas, it has already sold out. Last minute cancellations can and do happen, so perhaps roll the game dice and take a chance by arriving early and getting on the waitlist.

Guest Reviewer, Kelly Rogers Flynt is a member of the San Francisco Bay Area Theatre Critics Circle. She has reviewed for BroadwayWorld Seattle, BroadwayWorld Bay Area, Seattle’s Child, and The Alameda Post. Additionally she works as a director, choreographer, and dramaturg in both the Seattle and Bay areas.