Manitoba Theatre Centre’s 52nd season opens with a witty, whodunit murder mystery.

Strong Poison, adapted by Frances Limoncelli from British author Dorothy L. Sayers’ popular 1930s detective novels, recounts the tale of Harriet Vane’s (Miriam Smith) imprisonment for allegedly murdering her ex-lover; and the Renaissance-man, Lord Peter Wimsey, who tirelessly endeavours to free his caged bird.

Wimsey is portrayed by charming-as-heck, monocle-clad Greg Ellwand, who appears in almost every scene of the two-hour production.

It’s a good thing too, because he is easily the most developed and likable character in the troupe. This is quite a compliment, as the characters are numerous: 20 supporting roles (with 20 accents to match), divided amongst six actors.

The Eddie Murphy-esque multi-role aspect does add a measure of intrigue, however it becomes confusing and distracting halfway through the production.

Many of the characters remain undeveloped and act mostly as living backdrops or comic relief in certain situations.

In the first act, the audience is introduced to murder-mystery writer Vane’s presumed and short-lived innocence, as the jury has declared a mistrial. Professional sleuth Lord Wimsey, stricken by the poor woman’s circumstance as well as her beauty, takes the case in order to win the doomed woman’s heart.

Vane spends the majority of the first act looking wistfully into the audience, but spouts the mature charm of a 1930s independent woman when visited in her cell by the detective.

It’s difficult not to root for Wimsey as clues are periodically uncovered, but the progression slows down substantially near the intermission, as minor characters are introduced time and time again, discombobulating the audience in their unneeded complexity.

The production picks up in the second act, aided undoubtedly by Ellwand’s comedic timing, as the mystery is solved.

Although the plot and cast of characters can be convoluted at times, there are elements of the production that make up for the hit-and-miss European accents. The authentic 1930s costumes, in a mostly-muted colour palette, worn by an array of British bourgeoisie, are worth seeing alone for those with an eye for fashion. The set design is grandiose, but works to add to the believability of the portrait that set and costume designer Judith Bowden paints for the audience.

Unfortunately, these elements may not be enough to leave a Wow-factor with the viewer.

Lord Wimsey’s “spot on” comedic timing carries this season opener, but unfortunately doesn’t altogether transition it into a “jolly good show.”

Published in Volume 64, Number 9 of The Uniter (October 29, 2009)