The Mystery of Irma Vep: A Penny Dreadful, currently running at Baltimore’s Everyman Theatre, may masquerade as a play. However, this hilarious journey through the mind of playwright Charles Ludlam leaves the same impression as if it were an elaborately choreographed dance. It’s not only one of the busiest physical comedies I’ve seen; it’s also a successful hodgepodge of different genres, a showcase for 1980s cultural references, and a glowing recommendation of the two actors involved. But Vep isn’t just a lively two-hander. As pointed out by Everyman’s Artistic Director Vincent M. Lancisi in his pre-performance address, this Paso Doble is more like a flash mob. If an audience member can guess exactly how many behind-the-scenes bodies it takes to execute this camp masterpiece, he’ll buy them a drink.
On its face, The Mystery of Irma Vep has a suspiciously recognizable profile — a spooky mansion, a Lord of the Manor, the ghost of his first wife, his new love interest, and the domestic help. The audience is left to wonder what new twists could be possible. Even the term “Penny Dreadful” seems self-deprecating, as it refers to literature that’s straight trash. But Ludlam has infused some high-value surprises into his painstakingly written script. And, under the superb guidance of director Joseph W. Ritsch, an incorporeal force takes center stage more than any other character. It’s the spirit of all the comedy that’s come before … everything from British farce to Rowan & Martin’s Laugh-In to modern improv. Ritsch dresses the bones of a horror spoof in this downy essence, creating a classic Scooby-Doo episode on steroids.
In this case, the gang solving the mystery is a dynamic duo, so Everyman’s repertory system has slotted Bruce Randolph Nelson and Zack Powell into a couple of multiple-role parts that an actor would wait a lifetime to play. And playing these parts must be the challenge of their lives. But there isn’t an actor working that wouldn’t be jealous of the opportunity to shine this brightly. There is no Tango without these two, and they shoulder the burden of all the double entendres, meta jokes, and toilet humor with grace.
Nelson (Nicodemus/Lady Enid/Alcazar/Pev Amri), a generously seasoned audience favorite, lands on the doorstep of the Manor with a wooden leg, a strong lower-class English accent, and a palate of hideous fake teeth, all used to great effect. There’s no surprise in his innate command of the stage, as most local theatergoers would have already seen him in a fantastic array of roles at Everyman and elsewhere. Nonetheless, he reaches new heights in Vep, with his uncanny ability to flit from ultra-feminine ingenue to crusty laborer to mummified Egyptian goddess. Powell (Jane/Lord Edgar/Intruder) is the perfect accompaniment to Nelson’s delightful melange, breaking through the fog with macho virility to hurl a dead wolf onto the hardwood, even as he’s planning his transformation back into his Gibson Girl–style attire to play the harried maid. His metamorphoses are so complete that I genuinely didn’t realize it was the same actor for a few minutes. Nelson and Powell both accomplish their overwhelming number of costume changes with aplomb, and each has their own unique and compelling stage presence. Watching them play together is a joy.
Besides being a comforting night of laughs, Vep also serves another essential purpose, especially considering the present political climate. It’s a wholehearted endorsement and celebration of queer identities and cross-gender expressions. Ludlum was passionately committed to championing queer theater, operating with the belief that cross-gender performance is a powerful exploration of both the masculine and feminine that has many personal and societal benefits. With his Ridiculous Theatrical Company, he created a space where everyone could feel comfortable being their best selves — and he especially loved embracing the peculiar, eccentric, and odd.
The production and design elements of this show reflect those values beautifully. The set, designed by Daniel Ettinger, reads as classic decor, with William Morris–inspired prints in muted blues and grays co-existing with dramatic geometric shapes, à la Pee-Wee’s Playhouse. It also holds up surprisingly well with all the comings and goings. The costumes, designed by David Burdick, are beautiful, sleek, and period-accurate, and Lady Enid’s frocks and nighties are such a cute nod to modern coquette style. I particularly loved her “silly goose” dress. But most of all, it is spectacularly impressive that every one of these costume pieces had to have been meticulously planned to allow it to be donned or removed in a matter of 15 seconds. I almost wished there was a live feed backstage to record the magic of those quick changes. It must be pure chaos back there.
Because of the relentlessly kooky nature of The Mystery of Irma Vep, there’s not much space for the audience to ruminate in between laughs. But, as we poured out of the venue, I felt a wave of poignancy wash away the haze of escapism. It was disheartening to register afresh the atmosphere we were re-entering — walking headfirst into a country that needs change, into a moment that requires protest. Appropriately, Vep was originally created as just that — a primal scream against the scourge of AIDS (which Ludlam succumbed to in 1987). Yet, in our current environment, this revolutionary comedy takes on a world of significance, and presenting it constitutes a profound act of resistance. The team at Everyman may not have meant to be brave by producing this play in this time … but it may be the bravest thing they have ever done.
Running Time: Approximately two hours, including one 15-minute intermission.
The Mystery of Irma Vep: A Penny Dreadful plays through June 22, 2025, at Everyman Theatre, 315 West Fayette Street, Baltimore, MD. For tickets ($5–$81, including student discounts and Pay-What-You-Choose tickets at every performance), call the box office at (410) 752-2208 (Monday through Friday, noon–5 pm), email boxoffice@everymantheatre.org, or purchase them online.
Content Advisory: Contains adult humor and sexual innuendo, simulated violence with weapons including guns and knives, and jump scares intended to delight the audience. Production effects include theatrical haze and blood, gunshots, and strobing lights.
The Mystery of Irma Vep: A Penny Dreadful
Written by Charles Ludlam
Directed by Joseph W. Ritsch
CAST
Nicodemus Underwood/Lady Enid Hillcrest/Alcazar/Pev Amri: Bruce Randolph Nelson
Jane Twisden/Lord Edgar Hillcrest/An Intruder: Zack Powell
CREATIVES
Set Design: Daniel Ettinger
Costume Design: David Burdick
Lighting Design: Juan M. Juarez
Sound Design: Germán Martínez
Wig Design: Denise O’Brien
Dialects: Gary Logan
Fights & Intimacy: Lewis Shaw
Dramaturgy: Robyn Quick
Stage Manager: Cat Wallis
