Body Double

Park Square's Communicating Doors showcases three dead women, one hotel room, and a publicist with a journalist doppelgänger

In through the out door: Time-traveling dominatrix Alayne Hopkins and detective Alan Sorenson defy death
In through the out door: Time-traveling dominatrix Alayne Hopkins and detective Alan Sorenson defy death

For all its physical dexterity, though, this show reveals some tongues in need of proper exercise. Which is to say that none of the accents seem altogether right. I have begun to wonder if theater schools even teach accents anymore. Even the best actors in this city seem capable only of two styles of English speech: Eliza Doolittle cockney (demonstrated by Alayne Hopkins in this production) and chinless wonder upper class (demonstrated by the remainder of the cast). Having seen more than my share of British gangster movies, which were clearly the model for Aykbourn's writing here, neither accent seems particularly appropriate. Where is the bullying, gruff Estuary accent, so common in London, that Bob Hoskins always affects? What about the comical Northern speaking style found in so many caste-afflicted English-movie hoods? Why not try the expressive, tonally challenging Welsh brogue, just for variety? I mean, if the Twin Cities can have two William Randall Beards, can't we have more variety in our onstage accents?

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