Take equal parts Edgar Allan Poe, and H.G. Wells, a dash of Frankenstein, and throw in some popcorn (literally), and you have a recipe for a “super shocker” of a play, the electrifying concoction that is Pocket Sandwich Theatre’s production of Dennis G.W. Millegan’s Murders in the Rue Morgue. Millegan, who also directs, uses Poe’s short story with the same title (widely considered the world’s first detective story) and Wells’ The Island of Doctor Moreau as his jumping off points to create a raucous comedy thriller with the typical crowd-pleasing Pocket Sandwich treatment of popcorn tossing and  audience participation hilarity.

It is 1890 in Paris, and bodies are starting to surface in the River Seine.  Auguste Dupin (an artfully disheveled Matthew Allis) and Professor Henri (Bill Otstott) are trying to solve the mystery accompanied by their lady friends Camille L’Espanay (Shannon Rasmussen), and Miniette Roux (a rousing and fetching Lauren Hearn as a last minute replacement for Valerie R. Horna).  Dr. Moreau (Patrick H. Douglass) has been conducting forbidden experiments on the women of The Left Bank aided by his accomplice, Janos (Caleb Ouku), and his reluctant man-orangutan creation, Bongo (Matthew Stepanek).  Moreau disposes of the bodies as failed subjects for his dream of human/animal hybrids. Also on the case and representing the gendarmerie are the bumbling, crossword-obsessed Prefect Barnard (Michael Murray channeling his best French Columbo) and his subordinate, the female in disguise, Isadora Muset (Allegra Denes).

Pocket Sandwich Theatre bills itself as “the most fun you can have in a Dallas theatre” and they do not disappoint one kernel.  There is a pre-show dinner service with appetizers and desserts during, drinks, a great wait staff, good-natured heckling, and much, much tossing of the popped corn at any and every one. The actors are more than decent sports to endure the myriad distractions, and some,  particularly Ouku and Stepanek, are quite adept at using the audience’s wild behavior as opportunities for more laughs.  Denes is the standout in a mostly workmanlike ensemble.  Any time she is on stage, she sparkles and charms even behind a faulty fake mustache.  Douglass’ mad doctor is serviceable, but he could use some more scenery-chewing relish to add to his impressive stature to flesh out his role as the chief villain.

Rasmussen as the brilliant, crimson-haired veterinarian and Fay Wray-esque object of affection for Bongo, Camille, is a feisty delight.   Speaking of the ape-man, Stepanek’s hilarious “poor beast” in full organ grinder regalia (fez included), reveals his full humanity in his dramatic death scene where he recites Shakespeare with shocking eloquence. Piano accompaniment by George Gagliardi and Timothy Flippo suits the mystery mood and offers important sound cues of when to boo and cheer, while set design by Rodney Dobbs and Robert Stribling utilizes off-kilter shapes for its features to add to the phantasmagoric feel of the play.

Murders in the Rue Morgue may not be pure Poe, but there are enough double-entendres, wine, merriment, and song to flow throughout this humorous, groan-inducing mash-up.

Photo courtesy of Pocket Sandwich Theatre