Stage Review - Arsenic and Old Lace
Presented By: Tacoma Little Theatre - Tacoma, WA
Show Run: October 16 - November 01, 2026
Date Reviewed: Friday, October 16, 2026 (Opening Night)
Run Time: 2 Hours, 30 Minutes (including a 15-minute intermission)
Reviewed by: Greg Heilman
I’ve long been fascinated by the plot of Arsenic and Old Lace, as unsettling as it might be at face value. The story of two sweet, elderly women who believe in poisoning lonely gentlemen as an act of charity is the hilarious contradiction that has made Joseph Kesselring’s play a staple of American theatre for more than eight decades, and in the hands of director Christopher Nardine, Tacoma Little Theatre’s production, which runs on stage through November 1, is a striking reminder how entertaining this dark comedy can be. The play brings audiences into the Brooklyn home of the Brewster family, where eccentricity is practically hereditary, murder is treated as a kindness, and one increasingly exasperated nephew discovers that his family tree has considerably more twisted branches than he ever imagined.
Set in September 1941, Arsenic and Old Lace follows Mortimer Brewster, a theatre critic who discovers that his beloved aunts, Abby and Martha, have developed a rather unconventional approach to helping lonely elderly gentlemen. Their homemade elderberry wine contains a few additional ingredients, and the unfortunate recipients eventually find themselves buried in the basement. Complicating matters is Mortimer’s brother Teddy, who believes himself to be Theodore Roosevelt, and the unexpected return of another brother, Jonathan, whose own murderous tendencies make the aunts’ activities seem almost quaint. Add Mortimer’s girlfriend Elaine, a collection of police officers, and an increasingly absurd series of circumstances, and the result is a comedy that finds humor in places where one would ordinarily least expect it.
There is something about the plays that Chris directs and one of his most consistent achievements as a director is his uncanny ability to cast a production. Whether working with a play or musical, he has a particular gift for bringing together performers who seem ideally suited to their roles. Arsenic and Old Lace is another example of that skill on display, with a collection of actors who understand the distinctive humor of their characters and how to make it work within the larger story.
At the center of it all are Rosalie Hilburn as Abby Brewster and Sharry O’Hare as Martha Brewster, two veteran performers who demonstrate a wonderful understanding of what makes these characters so funny. The sisters are not villains in their own minds. They are kindhearted women who genuinely believe they are performing a service for lonely men who have little left to live for. Rosalie and Sharry embrace that sincerity completely, discussing their activities with the same matter-of-fact enthusiasm they might bring to preparing tea or welcoming visitors into their home. There is nothing forced about their performances, and that is precisely why they work so well. Their casual acceptance of the unthinkable is the foundation upon which so much of the play’s comedy rests.
Odie Taylor, as Mortimer, provides the perfect counterpoint to the sisters’ cheerful composure. Where Abby and Martha see nothing particularly unusual about their activities, Mortimer recognizes the enormity of what they have done, and Odie makes his escalating emotional upheaval one of the production’s greatest sources of humor. His physical comedy is particularly effective, with facial expressions, gestures, and movements that communicate his growing desperation as effectively as anything he says. There is an exhausting quality to Mortimer’s predicament, as every attempt to bring some sense of order to the situation only introduces another complication. Odie handles that progression beautifully, creating a character whose frustration is both entirely understandable and consistently funny.
Meantime, Luke Storaasli brings a different kind of comedy to Teddy Brewster, whose unwavering conviction that he is Theodore Roosevelt makes him an unwitting participant in his aunts’ activities. Teddy’s delusion is essential to the mechanics of the story, but it is also a wonderful source of humor, and Luke plays the character with the wholehearted commitment necessary to make it work. The amusement in watching Teddy enthusiastically carry out what he believes are presidential responsibilities, completely unaware of what is actually happening around him, never gets old.
The arrival of Jonathan Brewster introduces a darker element to the proceedings, and Ben Stahl is particularly effective at giving the character a mysterious, almost spooky presence. Unlike his aunts, Jonathan makes no pretense of being motivated by kindness, and Ben gives him an appropriately menacing quality. Scott Welborn, as Jonathan’s accomplice Dr. Einstein, helps balance the more sinister elements of their storyline with the absurdity that defines the play.
Rounding out the leading players is Josephine Hampton, who, as Elaine Harper, serves as a fresh counter to the craziness of the Brewster household. As Mortimer’s girlfriend, Elaine represents a connection to a world where people generally behave in recognizable ways, and Josephine does well in providing that contrast. Her presence also gives Mortimer something beyond his family’s increasingly outrageous circumstances to contend with, further complicating his efforts to maintain some semblance of a normal life. The supporting cast keeps the steady procession of visitors and interruptions entertaining as well. Kerry Bringman as Officer Brophy, Eric Cuestas-Thompson as Lieutenant Rooney, Joe DeRosier as Officer O’Hara, Roger Iverson as Officer Klein, Alex Koerger as Mr. Gibbs, Micheal O’Hara as the Reverend Dr. Harper, and Steve Tarry as Mr. Witherspoon all contribute to the increasingly complicated circumstances unfolding in the Brewster home.
Part of the pleasure of this production is the variety of humor at work. The sisters’ comedy comes from their cheerful sincerity, Mortimer’s from his increasingly frantic reactions, Teddy’s from his unwavering presidential identity, and Jonathan’s from the darker qualities of his character. Each brings a different rhythm to the proceedings, allowing the comedy to shift naturally between understated absurdity, physical humor, and moments of almost sinister amusement.
Chris’ direction is also evident in the movement of the characters throughout the space, an element that might easily go unnoticed but makes an important contribution to the production’s success. Consider the scenes in which Abby and Martha explain their activities to Mortimer. Rather than simply standing in place and delivering dialogue, the sisters move naturally about the room, going about their business as though the conversation were no different from any other afternoon in the Brewster home. It is a small but effective choice, one that reinforces their personalities while keeping the action visually engaging. Arsenic and Old Lace is a lengthy play, but this attention to blocking and the rhythm of the action helps the time pass much more comfortably than its running length might suggest.
The physical production is another significant strength, beginning with an excellent scenic design by Blake R. York. The Brewster home is a wonderfully detailed environment, its palette of browns and grays, gingerbread woodwork, wall decorations, and period lighting sconces creating a cohesive picture of a house with a long history. There is a sense of permanence to the space, as though generations of Brewsters have occupied these rooms and left their marks upon them. It is an inviting, comfortable home, which makes the activities taking place within it all the more amusing. The attention to detail extends to the furnishings and properties, overseen by M. Ashley Crow, with everything from the tea service to the smaller decorative elements contributing to a believable, lived-in environment. Jennifer York’s scenic artistry adds to the overall finish, while Elijah Bellis’ lighting complements the design, bringing warmth and dimension to the space.
The costumes, credited to From the Closet, are equally effective in establishing the period and personalities of the characters. The sisters’ clothing reinforces their traditional, respectable appearance, making the contrast between how they look and what they do even more hilarious. The costumes throughout the production are thoughtfully selected, adding another layer of visual authenticity. Excellent hair and wig work by Jeffery Swiney-Weaver also contributes to the period presentation, especially with Abby and Martha, while Jonathan’s particularly effective makeup, with consultation credited to Mak Hopkins, supports Ben’s unsettling characterization.
What makes Arsenic and Old Lace so entertaining is the absolute conviction with which its characters inhabit their peculiar world. The Brewster sisters genuinely believe they are doing good, Teddy genuinely believes he is president, Jonathan is every bit as dangerous as he appears, and Mortimer is left trying desperately to navigate a reality that grows more absurd with every passing moment. Chris understands that the humor works best when the characters take their circumstances seriously, allowing the comedy to emerge without forcing it. Combined with thoughtful staging and excellent technical elements, the result is an engaging production that demonstrates why this play has remained a favorite for so long.
Tacoma Little Theatre’s Arsenic and Old Lace is a delightful production of Joseph Kesselring’s classic dark comedy, skillfully directed by Christopher Nardine. Rosalie Hilburn and Sharry O’Hare are wonderful as the deceptively sweet Brewster sisters, while the ensemble provides contrasting styles of humor that work beautifully together. With intelligent staging, well-matched performances, and plenty of laughs, this production proves that even after more than eighty years, a story about two sweet little old ladies with a rather unusual approach to charity can still be enormously entertaining.
Arsenic and Old Lace runs on stage at Tacoma Little Theatre through November 1. For more information, including ticket availability and sales, visit https://tacomalittletheatre.com/.
Photo credit: Dennis K. Photography
