Describing any of the intricate twists that wind through "Accomplice" would be saying too much. Even listing the actors and the parts they play risks revealing more than is prudent. It's all described neatly by one character late in the play: "What a propped-up world is the theatrical thriller."
Describing any of the intricate twists that wind through “Accomplice” would be saying too much. Even listing the actors and the parts they play risks revealing more than is prudent. It’s all described neatly by one character late in the play: “What a propped-up world is the theatrical thriller.”
Raconteur Theatre props up Rupert Holmes’s 1990 comedy in a production that’s almost as sloppy as the countless Scotch and sodas that splash down the sink standing prominently onstage. That sloppiness might matter less if “Accomplice” was not as convoluted as Holmes and as drawn out as director Mary-Aileen St. Cyr have made it.
Holmes, best known for that notorious 1979 song “Escape (The Pina Colada Song)” and for the Dickens musical “Drood,” supplied plenty of wordplay and cultural references that had more currency two decades ago. But too many of them seem to go right past the cast, let alone the listeners.
Without giving too much away, let’s cut the actors a bit of slack, seeing how each one has to carry layer upon layer of deception. Or to badly paraphrase actress Lorelei Moore late in Act Two, there are so many veneers on these parts that it’s no wonder they have trouble getting to the real wood. The one-named actress Parker and actors Charles Barr and Stephen Woosley round out the cast.
But like all other audience members, I am sworn to secrecy and will say no more.
Credit: Courtesy of Raconteur Theatre