MJ Matheson, Emma Schuld, Michael Terrell Brown, Janely Rodriguez, Katy Kessler, Sasha Andreev Photo by Dan Norman

In addition to the original six, a seventh, Richard, husband of original group member Susan, makes a seventh, unknown to the others. The other gamers are Elizabeth, who lives in Portland and has become a radical environmentalist, and twins Clive and Laura. Laura is an attorney, and Clive was downsized from his librarian job by the encroachment of AI, and now drives for Uber.

This set-up animates Trademark Theater's The Reunion, a brand-new play wrapped inside a role-playing game, created by Trademark co-founders Tyler Michaels King and Tyler Mills, enjoying its world premiere at the Gremlin Theatre. The Reunion is a murder-mystery-comedy in the best tradition of the genre, meaning it goes beyond role-playing a murder to there being an actual murder. It serves up well-honed characters, a deviously crafted plot, and free-wheeling spirit. Its twists and turns keep us guessing throughout, with surprises startling enough to illicit a scream here and there. All in all, it's a hell of a fun time.

Tyler Michaels King and Tyler Mills must have had a grand time developing the scenario, fine-tuning its assorted characters, and inserting a generous number of laugh lines, while keeping the mystery element aloft. The seven characters are each slightly exaggerated versions of recognizable types, recognizable so that the plot bears a semblance of plausibility, at least till we get fairly close to the end, and exaggerated so that we are free to laugh at their misdeeds, unburdened by any emotional investment in the outcome.

My favorite character is Clive, in no small part due to MJ Matheson's pitch-perfect performance. He is the quintessential guy who, having been robbed of his "grown-up" mission in life (as a librarian) by technology, has fully retreated into his "inner child" mission as a player totally immersed in the game. Matheson makes Clive a sympathetic character, in spite of seeming somewhat clueless as to what is real and what is pretend. Matheson also is swell at letting Clive's long-languishing romantic yearnings for one of the other players leak out in little bits, gradually swelling into a full stream.

Laura, Clive's twin sister, is another well-honed character, played with ferocity by Janely Rodriguez. Laura is as tightly wound as her brother is uncoiled. Rodriguez imbues her with a sense of intelligence that something is about to go very wrong, and a determination to stop the mayhem from occurring, without tipping her hand to the others at the party. Then there is Elizabeth, the eco-militant, marvelously played by Emma Schuld, half granola-guru, half stealth terrorist. Elizabeth seems blasé to the death of a human being but chokes on her tears over the death of a turtle, and goes ballistic over the very existence of plastic straws in the universe.

Susan (Katy Kessler) was the group's "most likely to succeed" type in high school, but hasn't been able to shake the darkness that has beset her life since a tragic family event occurred around graduation. Kessler's performance offers insight into this woman who knows that more was expected of her–by herself, as well as others–but doesn't see a way to get there. Instead, she has been a stay-at-home mom while husband Richard enjoys a soaring career. Richard (Sasha Andreev) is actually an asshole, probably a cheating asshole–Susan knows it, and everyone else, upon meeting him, sees it too–but Andreev makes Richard's ego-fueled charm attack awfully fun to watch, using his sly grin, piercing eyes, and slinky physicality to great effect.

Michael Terrel Brown plays Sam with panache. Brown drapes Sam in flamboyance that covers up his insecurity over whether he was only liked in high school–or even now–for his money. After all, if he hadn't invited the gang to a grad party on the family yacht, no one else would have. Lastly is Peter, portrayed by Chris Hayhurst, who gives the character an edge right from the start, as he sees an opportunity to turn the tables and, for once, not play second fiddle to overbearing Sam.

That's the gang of seven, gathered for an evening of fun and games–or so they think. The commitment each actor makes to their character and the dizzying interplay among them is half of The Reunion's pleasure. I won't, however, tell you any more about what happens to them because, having the plot pop open before your eyes is the other half.

Actually, if a play can be permitted to have more than two halves, the work of the design team makes a third half of its pleasure. I was swept away by Sarah Bahr's set and costumes. The set is a fantastic rendition of a Victorian home, complete with feather-patterned wallpaper, that would be the ideal setting to play at solving a murder. Bahr's costumes effectively match each of the seven characters personas, wittily appended by the addition of costume pieces each is to don as they assume their designated character within the role-playing game–a swishing cape here, a grey-haired wig there, and so on. Added to this, Tony Stoeri's outstanding lighting–essential for any good mystery, no?–and Dan Dukich's wickedly devised sound make The Reunion a fully integrated package of text, performance and design.

I have not tried to dig deep and find the message or meaning embedded in The Reunion. I encounter a great many opportunities to dig deeply–on stage, screen, and in the newspaper–and this time out, it is more than enough to have a guilt-free good time, to laugh heartily, let myself be fooled a couple of times, gasp at a surprise every so often, and take in top notch stage craft and performances. If Mr. Mills and Mr. Michaels King had something more introspective in mind, I admit to failing to notice. I suppose I could go back, see The Reunion again, and look for it. But really, just having fun is all I require of this delicious show, and it sure delivers.

The Reunion, a Trademark Theater production, runs through October 12, 2024, at the Gremlin Theatre, 550 Vandalia Street, Saint Paul MN. For tickets and information, please visit www.trademarktheater.org.

Written and Directed: Tyler Michaels King and Tyler Mills; Scenic and Costume Design: Sarah Bahr; Lighting Design: Tony Stoeri; Sound Design: Dan Dukich; Fight and Intimacy Consultant: Annie Enneking; Production Manager: Merritt Rodriguez; Stage Manager: Keara J. Lavandowska.

Cast: Sasha Andreev (Richard), Michael Terrell Brown (Sam), Chris Hayhurst (Peter), Katy Kessler (Susan), MJ Matheson (Clive), Janely Rodriguez (Laura), Emma Schuld (Elizabeth).