Review: Backstabbing: Murder on the Corporate Ladder
Richard Basehart Playhouse, 21028-B Victory Blvd., Woodland Hills, 818-704-1845
by Teresa Willis
The Richard Basehart Playhouse offers the world premiere of Backstabbing by Scott Seiffert. A murder mystery/boardroom farce, it lampoons the lives of the highest-ups of a New York financial firm. Following the funeral of their beloved boss (who was found dead, naked and smiling on the table of the executive lounge), the four senior directors (Loren Lester, Linda Gary, Brad Trumbell and Scott Seiffert) put grieving behind them quickly and focus on the vacant vice president’s chair. The President (Charles Howerton) and the Vice President (Dana Craig) keep a wry and manipulative eye on the rest, who are just about at the breaking point under stress of a delicate account negotiation and the impending promotion of only one of them. Flitting about the rest of them is the seemingly innocent executive secretary (Jacky Pratley), who lives for redecorating and providing danishes. Soon the secrets start to unfold—sexual entanglements, blackmail, basic corporate backstabbing. Seiffert has written a classic style who-done-it, with surprises tucked throughout and plenty of laughs along the way.
The playwright also gives a notable acting performance as David Kerr, the brilliant young turk executive who’ll step on anyone on his way up the ladder, but is so charming you might not notice. And I was extremely impressed by Brad Trumbell’s subtle but powerful portrayal of Chuck Tharp, the company’s number crunching nerd who slowly loses it throughout the play. Dana Craig’s performance as the yes-man Sloan was solid as a rock. The other performers wavered, all having their moments, but then falling prey to the trap of such material—one-dimensionality.
Director Cynthia Baer’s staging worked very well with the action of the play and she steered the actors into seamless execution of it.
The fatal flaw of this production is Brent Altomare’s and William James’ set. The fact that this is a newly decorated, lavish executive lounge is pointed to over and over in the script, and each time it was mentioned I found myself looking at the pressboard paneling, the old TV set and the un-luxurious president’s chair which spun askew. I realize the budget limitations of most theatres, but more imagination could have gone into the making of a more polished look.♦