Reviewed by Dr. Tiffany Knight Raymond, PhD and Theron Raymond (6th grader)
Little Lake Theatre Company continues its 77th season with Rachel Wagstaff and Duncan Abel’s adaptation of Dan Brown’s 2003 novel, The Da Vinci Code. The book is the second in Brown’s series featuring Harvard professor of symbology, Robert Langdon.
The Da Vinci Code is in fact the best-selling American novel of all time. Tom Hanks famously brought Langdon to life in Ron Howard’s 2006 film adaptation. Translating this internationally beloved treasure to the stage is no small feat for Patrick Cannon who’s both Little Lake’s artistic director as well as the show’s director. However, Cannon proves more than equal to the task.
If you’ve read the book or seen the movie – or both, it’s incredibly fast-paced. Langdon (Arjun Kumar) and Parisian cryptologist, Sophie Neveu (Chelsea Davis) are being pursued as they’re on a quest for the Holy Grail. Patrick Cannon smartly sustains the furious pacing by choosing a simple set design. Instead of moving props, lighting and sound cues demarcate scene changes and elucidate characters.
Nicole White’s brilliant lighting design uses color to create categorization. The first time red light is used is to symbolize the swastika at the play’s start when Langdon is lecturing to a Parisian audience about symbology. Nicole White goes on to bathe the religious figures from the Opus Dei order in red light, symbolizing both their blood flow from self-flagellation as well as the danger they pose.
Anthony Del Grosso is not just the sound designer. Del Grosso also wrote an original score for this Little Lake production. If the world is lucky, this will become the play’s de facto. The play only came to the U.S. for the first time in 2023 after premiering in the UK in 2022. The ethereal qualities of Del Grosso’s guitar-strained sections are particularly enchanting.
While Cannon triumphs, so does Arjun Kumar as Langdon. Following in the footsteps of Tom Hanks could be daunting. However, Kumar pays homage to the man we think of as Robert Langdon while still making the character his own. Kumar is notably most comfortable when lecturing. Even in one on one conversations, he’s most confident when he lectures on a known symbology topic. It’s not surprising, but a bit wistful and tragic, when Sophie asks him at one point whom he can call. It turns out his most significant personal relationship is with his tropical fish as he self-deprecatingly refers to himself as “their food god.”
Chelsea Davis brings a quietly intense energy to Sophie Neveu. She quickly discerns how to motivate Langdon. Davis’ subtle facial expressions of masked patience when Langdon lapses into professor mode are priceless.
The production’s only weak link is Lynnelle Goins as Maria. Her robotic recitation turns what is supposed to be an emotional reunion into something blander than a plain bagel, but her role is thankfully small.
John Reilly brings a fiery reimaging to Sir Ian McKellan’s cinematic portrayal of eccentric billionaire Sir Leigh Teabing. Costume designer Sylvia Sims-Linkish outfits Teabing in a cherry red velvet blazer that’s reminiscent of Daddy Warbucks, and Reilly’s jolly nature keeps us guessing at his character’s motivations.
Dialect coach Lisa Ann Goldsmith works magic with the cast as they flawlessly bridge American, French and British accents.
Little Lake is the first theatre in the area to produce The Da Vinci Code, so don’t miss the chance to see Patrick Cannon guide this dynamic thriller.
-TKR, Ph.D. & TR
Little Lake’s production of The Da Vinci Code runs through June 1, 2025 at Little Lake Theatre, 500 Lakeside Drive, Canonsburg, PA, 15317. Purchase tickets online here.
For me, the Lynnelle Goins performance was about the beauty of risk taking. While she seemed out of her element, the dedication to the clarity of the important information of the moment was paramount to her role in this fantastic show. I applaud her grit, composure, grace and determination.
As someone who saw this production and read the review afterwards, the critique of Maria’s actor to me is in horrid taste. I was more distracted by unruly audience members throughout the show compared to Maria’s tone, which I understood was primarily exposition and therefore incredibly difficult to convey. If this production were to have been produced by any professional theatre company, I may agree in speaking on weak performances. This however, being a community production, was not the place nor time to make comments such as these. Community theatre exists as a way to make art accessible to all, regardless of financial constraints or lack of training. I do hope the good Doctor takes this opportunity to learn more hospitable and appropriate stageside manner and in turn allows her child to learn the impact that words can have on a person.
I saw Da Vinci Code and am shocked by your review of Maria. Her delivery was simple, but heartfelt and I found tears running down my face during this emotionally charged moment. Even if you disagree, why be so cruel in this review? Seems inconsistent with the typical spirit of Burgh Vivant reviews.