A Whimsical Whodunit: 'The Mystery of Edwin Drood' Delights at the Alhambra

The Alhambra Theatre & Dining’s production of The Mystery of Edwin Drood begins not with a curtain rise but with a delightful invasion of the audience’s reality. Performers spill into the aisles, chatting, jesting and instructing patrons on how the evening’s intrigue will unfold. It’s instantly clear that this isn’t a typical musical but a metatheatrical romp that knows it’s a show within a show. The conceit is that we’re watching a Victorian music hall troupe perform the unfinished Dickens tale, and the fourth wall is more suggestion than structure.

At the helm of this merry chaos is Alec Hadden, whose performance as the Chairman (and Mayor Thomas Sapsea) is nothing short of sensational. Hadden commands the room with boisterous charm and razor-sharp comedic timing, embodying both the showman’s swagger and the exasperated emcee keeping his motley company in line. His improvised banter and effortless rapport with the audience keep the laughter rolling and the pacing crisp throughout the night.

Justin Murphy’s John Jasper, portrayed through the guise of actor Clive Paget, provides a striking contrast to the levity surrounding him. Murphy’s performance is unnervingly intense, his descent into jealousy and obsession rendered with such conviction that it’s almost disorienting amid the show’s comic whirl. As Murphy quips, he may indeed be “the only actor who doesn’t know he’s in a comedy,” and that grounded darkness makes the mystery all the more palpable.

As the titular Drood, Torie D’Alessandro brings buoyant energy and youthful optimism to the role. Her clear, bright voice and infectious stage presence make Drood a delightfully mischievous figure — part hero, part rogue. Ellen Shaw’s Rosa Bud provides a lovely counterbalance, combining charm and emotional vulnerability with a sharp comedic sensibility that fits perfectly in the play’s metatheatrical chaos.

Patti Eyler’s Princess Puffer is a smoky, sardonic delight, her voice rich with the weight of years and secrets. She moves between humor and gravitas with ease, grounding the show’s whimsy in a touch of Dickensian grit. Megan Soledad and Anthony Llerandi, as the Landless twins Helena and Neville, strike a strong balance between melodrama and mischief. Llerandi infuses Neville with a deliciously villainous edge, balancing menace with a wink of humor that keeps his intentions playfully uncertain. Soledad gives Helena a fierce and commanding energy, embracing her comedically “strange, somewhat geographically untraceable accent” with gusto. Together, their performances create a captivating and unpredictable sibling dynamic that heightens both the humor and mystery of the evening.

David Diehl’s Reverend Crisparkle exudes warmth and sincerity, his earnestness often serving as a foil to the show’s more chaotic personalities. Noah Ruis gives Bazzard his moment in the spotlight with scene-stealing awkward charm, while Pete Clapsis and Landon Amburgey as Durdles and his Deputy bring wonderfully physical comedy to their scenes. Jen Brooks, Samantha Pohly and Kathy Sanders add sparkle to the ensemble, each carving out distinctive personalities within the show’s meta world of actors playing actors.

The production’s choreography, crafted by Shain Stroff, brims with wit and clever physical comedy. Every exaggerated gesture, every chaotic ensemble movement is intentional, landing laughs without losing rhythm. The live orchestra, under the direction of Cathy Murphy Giddens, sounds phenomenal — lush, lively and period-perfect. The vocals are equally impressive, showcasing the cast’s immense musical talent. Unfortunately, GoldenStage Productions’ sound engineering doesn’t do the singers justice. The microphones are poorly balanced, causing the vocals to sound muffled and distant, which makes it difficult to catch the lyrics or dialogue. Despite the cast’s strong performances and clear effort, the uneven sound often works against them. Several audience members were even overheard commenting that they couldn’t understand much of what was being sung. Fortunately, there’s a noticeable improvement in the second act, suggesting that with a bit more attention from the sound engineer, the production’s mix could fully match the exceptional quality of the performances on stage.

Dave Dionne’s set design transforms the Alhambra stage into the worn but whimsical Music Hall Royale, complete with Michael Roddy’s illustrated portraits of the possible murder suspects, each glowing to signal their appearance. It’s a delightful touch that helps the audience keep track of the colorful cast of characters, which is particularly handy in a show where participation determines the ending. Indeed, no two performances are exactly the same. The audience votes on who killed Edwin Drood, who loves whom and how the story concludes, giving each night its own unpredictable twist.

The costuming team of Camala Pitts and Dorinda Quiles deserves special praise for creating outfits that dazzle both from the stage and up close. The attention to period detail enhances the illusion of a 19th-century theatre troupe, and the makeup design walks that fine line between caricature and authenticity.

In the end — though which end, no one can say — The Mystery of Edwin Drood is a riotous and captivating evening of theatre. It’s a rare show that invites its audience to laugh, conspire and quite literally decide the fate of its characters. At the Alhambra, it’s performed with infectious joy, theatrical bravado and just enough mystery to keep audiences guessing all the way home.

The Mystery of Edwin Drood runs Thursday, October 9 through Sunday, November 16 at the Alhambra Theatre.

For more information, full cast and crew credits and links to tickets, visit the The Mystery of Edwin Drood page here on JaxPlays.