Matthew Salazar-Thompson’s inventive adaptation of Dashiell Hammett’s classic detective tale delivers comedy, audience interaction, and stylish 1940s flair under the direction of Todd Nielsen
The world premiere adaptation of The Maltese Falcon at North Coast Repertory Theatre proves that classic film noir can also be delightfully silly. Playwright Matthew Salazar – Thompson offers an ingenious theatrical take on Dashiell Hammett’s legendary detective story, and director Todd Nielsen leans fully into the comedy, creating a playful production filled with audience interaction, clever staging, and plenty of laughs.
Private investigator Sam Spade (Richard Baird) is a sharp, skeptical San Francisco detective who becomes entangled in a dangerous web of lies, greed, and deception. The plot begins when a mysterious woman (Shelley Regner) hires Spade and his partner (Daniel A. Stevens) to track down a man (Louis Lotorto). Soon after, Spade’s partner is murdered, pulling the detective deeper into a complicated case involving a group of eccentric and suspicious characters—all searching for the same priceless treasure: The Maltese Falcon, a jewel-encrusted statue said to be worth a fortune.
Richard Baird as Sam Spade is a treat to watch. It was great to see him step into a comedic role, and he clearly enjoys the ride. His Spade is fun, a little naughty, and packed with great sass. Making the detective both charming and mischievous. Regina Fernandez, in her various roles from secretary to widow, is hilarious and wonderfully witty. She quickly wins over the audience with sharp timing and confident delivery. Louis Lotorto keeps the energy high with a series of funny accents and physical transformations, while also interacting beautifully with the audience. Daniel A. Stevens brings a strong stage presence and solid comedic ability, helping anchor the ensemble.
Shelley Regner as Brigid O’Shaughnessy brings a sensual and more substantial presence to the story, offering a heftier portrayal that balances the surrounding comedy and nods to the classic noir femme fatale tradition.
One of the true stars of the evening is Liam Sullivan, performing live onstage as the Foley artist. Watching him create sound effects in real time is part of the fun, and he executes each moment to perfection. His work adds an extra layer of theatrical magic that audiences clearly enjoy. It also lent this backstage feel to a studio, giving a sense of how sound effects work. It truly was a treat.
The design contributes greatly to the show’s playful aesthetic. Marty Burnett’s set design features striking black-and-white panels that create shadowy noir effects while allowing fluid movement across the stage. Matthew Novotny’s lighting design adds vibrant color and visual punch, including a particularly smooth transition into intermission. Elisa Benzoni’s costumes, with Grace Wong as associate costume designer, capture that classic 1940s private-eye style. Rai Feltmann’s props interact cleverly with the moving panels, turning the set into a dynamic playing space rather than a static backdrop. Ian Scott’s sound design and music composition, along with Matt FitzGerald’s projections and Peter Herman’s hair and wigs, round out the strong production design.
This North Coast Repertory Theatre production embraces the absurdity of its noir parody, delivering silly comedic fun that audiences clearly enjoy. If anything, the show might benefit from being a bit shorter. Still, the inventive staging, lively performances, and playful take on a classic detective story make for an entertaining theatrical ride.
The Maltese Falcon is currently playing until April 5 at Solana Beach.
Evelyn G. Myers is the production stage manager.
