‘Grave Mistakes’ Review: SkyPilot Theatre’s Haunted Comedy Charms in North Hollywood

Who knew a play about a haunted house inhabited by spirits could produce such charm, laughter, and tenderness, to go along with the occasional spooky sound? SkyPilot Theatre’s production of Grave Mistakes by Ben Abbott, directed by Jonathan Fahn, is just that — a 100-minute life-and-afterlife journey entertaining audiences through August 30th at the LACAE Theatre in North Hollywood.

We’re introduced to a little attic nook that editor Ray (Dylan Bowers) has set up for himself and writer colleague Molly (Shelly Snellman), who is in the process of writing a murder-mystery novel. Her sister Jessica (Kelsey Dougherty) finds the project interesting, but not more so than Molly’s undeclared feelings for Ray, who is intent on planting his roots by buying the property he’s renting on the cheap from landlord Lori (Marie Pettit) given its supposedly inauspicious haunted status.

Lori, on the other hand, has other ideas that involve turning this possible misfortune into a financial goldmine by getting it certified via a paranormal investigator (Jon Paul Burkhart) and turning it into a tourist-destination bed and breakfast. There is another problem, maybe two, in fact: not only are there two spirits living in the attic — one is Ray’s recently deceased dad Bob (Chris Durmick) and the other is the mysterious Eloise (Marjorie “MJ” Scott) from another era — but both are opposed to having their space invaded by passersby, just as Ray is reluctant to give up the home he’s had his eye on. Ultimately, this group hopes to thwart Lori’s plans, with plot developments and revelations along the way that make Grave Mistakes a worthwhile experience.

Abbott finds the gray areas within the human experience where comedy and morbidity intersect, and Fahn emphasizes his performers’ biggest strengths, ensuring compelling characterizations that audiences can connect with. The material could easily become a farce where nothing is taken seriously, or turn overly emotional to the point of being saccharine — neither, however, happens. And yes, there is a running theme about family and connection, but Grave Mistakes has complete control over its tonal mixture.

Among the ensemble cast is Bowers’ Ray — a thoughtful and honest individual still processing the sudden departure of his father. There is a determination to right the ship of his life, which Bowers gets across well in tandem with a palpable sense of grief, conveyed adeptly through the device of baseball cards (and Star Wars fan-fiction), and culminating in a surprisingly poignant end. Snellman, too, gives an understated performance as the bashful but independent creative who uses a typewriter to craft a romance angle in her book that could be a projection of her feelings for Ray and may or may not be subliminally inspired by the subtle flirtations she can’t physically see.

Durmick has a terrific presence as Bob, who might have attendees initially confounded given his fisherman’s hat and vest, but the attire simply reflects what he was doing immediately before his death. Bob is new to not being among the living and does his best to navigate being in the way of veteran specter Eloise and multiple uncertainties, the most pressing of which is whether he can deliver a message to his son. Durmick shows considerable range, delivering the majority of the laughs alongside a capacity for being heartfelt.

Many of Durmick’s quips are directed at the circumstances he’s immediately faced with, at the forefront of which is Scott’s Eloise, a resident of the attic for 93 years, whose cause of death will certainly catch even the most astute off guard. Scott, who is clad in an old-fashioned white blouse reminiscent of her time in the 1930s (although it can read a little older than that to some), offers firecracker energy to go with funnily awkward references to decades past, all of which play well against the animated Bob. Together, Scott and Durmick often epitomize the spirit of the show with their engaging repartee.

Making the most of his stage time as hired ghost finder Guy (that’s the character’s name), accompanied by his high-tech spectral-detecting equipment, is the delightful Burkhart who is undoubtedly committed to his wide-eyed and passionate persona. Burkhart is also involved in one of the play’s more memorable scenes in which a desk lamp is used to ascertain the presence of ghosts — and it is Burkhart’s expressions that heighten the stakes over whether the house is eventually listed for sale to Ray or becomes a “haunted hosting.”

Dougherty may be under the radar at first as the teasing sister to Molly, but she soon reveals her versatility as the enigmatic “Sica” (pronounced “Seeka” — as a reference to the second half of “Jess”). Sica is an Eastern European-accented medium who cavorts her way through a seance, during an enthralling climax, the goal of which is to prove a tricky condition divulged by Guy that would disqualify the home even if hauntings are proven: that is, if ghosts are deemed too dangerous for the public to interact with, the home loses its official designation. Here, suspense, anticipation, and comedy seamlessly co-exist, building on the narrative foundation established earlier, with each scene seemingly better than the last.

Not to be overlooked is Pettit who, like Burkhart, delivers on the merits of her defined character — a simple and unsophisticated lessor whose selfishly motivated goals run counter to those of the more likeable characters.

The production’s technical elements carry equal weight in making the proceedings immersive. For instance, Zachary Seaton Lewis’ lighting accentuates the mood, be it tense, frivolous, or reflective. Astrid Becker-Byrd’s sound design, moreover, captures noises through the void from apparitions (or at least ones that may be attributed to them if not for bad plumbing) and underscores a particularly moving exchange.

Overall, through its circumspect approach to processing inexplicable phenomena — combined with messaging on loss, regret, and the intricate nature of human relationships — Grave Mistakes helps us understand difficult or challenging situations with a free and effortless humor that peels away our defense mechanisms to uncover very raw sensibilities. This little gem of a play packs considerable meaning, moving us to a higher plane of thinking while making us chuckle via its lighthearted touches.

Cover image caption: Left to right are Shelly Snellman, Jon Paul Burkhart, and Dylan Bowers in SkyPilot Theatre Company’s production of Grave Mistakes at LACAE Theatre in North Hollywood, CA. Photo by Sean Dube.

SkyPilot Theatre Company’s production of Grave Mistakes runs Fridays and Saturdays at 8:00 p.m. and Sundays at 3:00 p.m. through August 30th at the LACAE Theatre in North Hollywood. For more information and to purchase tickets, visit skypilotheatre.com.