The Mystery of Irma Vep!

One of the most produced comedies in U.S. history. This outrageous spoof is a campy tribute to Gothic horror films, liberally stealing from well-known film classics like Wuthering Heights, The Mummy’s Curse and Alfred Hitchcock’s Academy Award-winning Rebecca. Literary detectives will also recognize dialogue lifted from Ibsen, Shakespeare, Poe, Oscar Wilde and many contemporary twists. This family-friendly, horror-comedy has two actors (Damian Gillen & Benji Regan) play all of the play’s eight characters, racing through a literal quick-change marathon…Combine all that with crazy plot twists & inspired audience interactions… “The Mystery of Irma Vep” guarantees fun for everyone!

–Voted one of the best plays by Time Magazine & New York Times!
–Winner of prestigious Drama Desk & Obie awards!

WHEN: OCTOBER 29th & 30th – SOLD OUT!
WHERE: The Big Apple room at Little Italy (824 Afterglow SA, TX 78216)
DOORS OPEN FOR DRINKS & DINNER AT 6PM (The show is a lot funnier after a few drinks.)

COSTUME PARTY/CONTEST: We’re having a costume party & contest both night to win FREE TICKETS, discounted ticket coupons, prizes & giveaways!


One of our favorite reviews…
By Michael E. Barrett, Special to the Express-News –  Last night, I dreamed I went to Mandacrest again, but it turned out to be Charles Ludlam’s “The Mystery of Irma Vep” at the Cameo Theatre. The show — a joint staging by the Cameo and The Company — is half shocking mystery, half Victorian melodrama, half “Dracula,” half “Rebecca,” half “Hound of the Baskervilles,” half curse of King Tut, and all campy, farcical nonsense in the tradition of everything from Carol Burnett to Monty Python. That makes about seven or eight shows, all delivered by two actors in seven roles.   All isn’t well at gloomy Mandacrest Manor. A wolf, or something, stalks the moors. Lady Enid, who never comes down in the daylight, is haunted by the memory of her predecessor, the mysterious Irma Vep , whose history conceals half a dozen dark secrets. (To reveal one of them, play around with the letters of her name.) Lord Edgar is an Egyptologist who spends half his time raiding tombs for mummies and the other half gabbing with the wooden-legged handyman, Nicodemus Underwood, who spends half of his time flirting with Jane, the maid who remains loyal to the reputation of her late mistress. Only certain characters can interact with each other, “for obvious reasons” as one of them says, so some of the comedy comes from the semi-frantic way one or another person rushes off stage and carries on conversations from the wings before someone else enters just in time from the other side.   Since Damian Gillen (also the director) and Benji Regan know their roles backward and forward, mostly forward, they’re free to extemporize and expectorate in the moment, weaving their well-timed and multiaccented delivery with casual asides on costume flubs or other random whimsicalia. More than celebrating the type of plots it spoofs so briskly, a show like this is a celebration of performance.   The real pleasure is the spectacle of two actors loving what they do and doing it well. They’re in the zone, wherever that is. The joy of performance becomes its own kind of dance. Such a demonstration can make you wonder why every play doesn’t double up roles. It’s like getting twice the talent for half the money. It may be mainly a joke, but it has the magic of theater in it, the kind that could encourage you to see a show more than once because each performance strikes different notes on the same music.