‘Rope’ not a show to be skipped

The script is choppy, and one would expect that when it’s based on a film that’s based on a play, as Poor Richard’s Players stages Alfred Hitchcock’s “Rope.” In 1948, the iconic director successfully adapted to film the 1929 British play “Rope” by Patrick Hamilton, loosely based on the infamous Leopold and Loeb murder case, and moved the setting to New York City. Here, the setting is retained but updated to 1960.

Director Lysander Abadia begins with the opening music from the old television series “Alfred Hitchcock Presents,” and we expected a gobo-projected profile shadow of Hitchcock. We’re privy to the who-done-it from the beginning; the psychological thrill is whether the murderous brothers will be caught. The amoral sensibility of the original is never lost, yet Abadia infuses a sense of fun throughout.

Jason Niño turns in a finely nuanced performance as Brandon, who intimidates and bullies his younger brother into murder “for adventure.” Niño goes from cocky, elitist, and entitled to pleading self-doubt through perfectly timed reactions. We feel his every emotion because he precisely telegraphs them with his entire instrument, from the beautifully stylized delivery of speech to the grim set of his lips and furrowed brows.

Jeremy Niño brings an equally realized Phillip, a man in a constant state of flux. His indecision of which to fear most, his brother or being discovered, plays out in beautiful transition. One minute his voice catches with fret, and in the next we can fairly see his toes curl in his shoes as he shies from Brandon’s brow beating and threatening fists. When Phillip claims he’s stone sober after consuming a half liter of whiskey we believe him.

Shane Cullum is delightful as Rupert Cadell, the friend who suspects the truth. His physical disability never waivers, which alone is impressive, but we can see the wheels turning as he takes in every detail of his surroundings. He’s so believable in his confidence to prove his theory because, with a one-eyed squint or the grip of the cane, we know he’s listened with immense care.

With a ramrod stance and slightly clipped speech, Chas Melichar provides a thoughtfully wrought Col. Kentley, the father of the murdered boy.

A good portion of the humor comes with the performance of Chip Nash as the childhood friend who never quite fit in but doesn’t quit trying. His Kenneth delightfully bumbles to impress the other guests, and his entire demeanor changes as he takes a stab at standing up to Brandon.

Rachel Jean Perry as the ingénue, Janet, brings the proper amount of drollness to her delivery.

As Miss Wilson, Heather Love moves around the environment in a studious, subservient fashion and with appropriate underlying hints of masked affection for Rupert.

There are a few missteps in costuming and some overlooked stage business, but certainly not near enough to make you want to use the ever-present noose hanging on an upstage wall of the exquisitely detailed Manhattan set.