Bender, Cariani Photo by Craig Schwartz

The late Charles Ludlam, playwright, director, actor and marvelously unique individual, is probably best known for his long time association with New York's Ridiculous Theatrical Company and its series of experimental theatre adventures. Ignored by mainstream publications, then worn out by financially unsuccessful tours, the company folded in 1980. Undaunted, Ludlam created a repertoire of entirely new works that included The Mystery of Irma Vep, finally achieving the success and financial independence that had escaped him for two decades, proving (once again) that theatrical success is not shaped like a smooth bell curve. .

As the play's opening night audience at the Old Globe Theatre's Arena Stage discovered, the plot of this zany escapade of a play has no smooth arc, either. But that's beside the point--if there is a point, which is quite doubtful. Like Ludlam, the play eludes traditional classification.

What it offers instead is a wonderfully wacky evening spent making the acquaintance of three female and five male characters, all portrayed by two men (the nimble John Cariani and the facially dexterous Jeffrey M. Bender), accompanied by The Third Man (a deadpan Chris Wollman) who maneuvers various props, dolls, masks and gates. Hooray for Director Henry Wishcamper for adding the Man role, which heightens the humor and solves the problem caused by the curtain-less stage. Using the stairs, railings and even an occasional audience member to extend the action are other clever directorial decisions.

Staged in the round, making the whole venture even more challenging than it was originally, the production is a collage of literary and cinematic references, innuendoes, double entendres, groaner gags and what-have-yous. The high-camp story, styled as a Penny Dreadful, the cheaply made sensationalistic novels of the 19^th century, contains adventure and mystery, as well as vampires, werewolves, mummies and assorted beasts that howl, growl and go bump in the night.

Kudos to Costume Designer Jenny Mannis, who built outfits that accommodated 30-second changes, and Scenic Designer Robin Vest, who figured out how to create the perfectly Gothic ambiance that accommodated all the wild action within very limited space. Jason Bieber's lighting design and Paul Peterson's sound design proved that big ambition compensates for limited space.

The very loose plot line involves the late mistress of Mandacrest estate, Irma Vep, her successor, Lady Enid Hillcrest, and their husband Lord Edgar Hillcrest. The servants, nasally housekeeper Jane Twisden and peg-legged groundskeeper Nicodemus Underwood, at times confound the tale, at others heighten the tension. Hints of a dark past involving the killing of Victor, Irma and Edgar's boy child, and the wolf-dog of the same name. Toss in Lord Edgar's impromptu trip to Egypt to find the mummy that could be Irma's ancestor and a secret jail in the basement where Irma, not really dead, after all, could be a prisoner. Oh, and Lady Enid has some secrets of her own, too.

And, if all that seems confusing and ridiculous, well, that's the idea!

This is not a play to follow or think on. It's a romp, a spoof, a trifle to be thoroughly enjoyed. It even makes fun of itself, as Lady Enid says, "Somehow, it just doesn't makes sense."

"Just like life, sometimes," Ludlam might say.

The Old Globe Theatre's "The Mystery of Irma Vep" continues through September 6 on the Arena Stage in San Diego's Balboa Park. Tickets are: $29 to $59. Performances: Tues & Weds 7:00 pm; Thurs, Fri & Sat 8:00 pm; Sun at 7:00 pm; Sat & Sun matinees at 2:00 pm. Discounts are available for full-time students, patrons 29 years of age and under, educators, seniors and groups of 10 or more. For reservations: www.TheOldGlobe.org, or (619) 23-GLOBE.