If Agatha Christie’s “The Mousetrap” is considered to be the definitive murder mystery, then Frederick Knott’s “Dial M For Murder” must surely be the definitive thriller suspense mystery. Although Knott wrote it as a stage play in 1952, it was Alfred Hitchcock’s 1954 film version starring the beautiful Grace Kelly (later to become Princess Grace of Monaco) that brought the story to a majority of people.
Knott was basically one of the forerunners of what has become known as ‘inverted murder’ and used to great effect in shows such as Columbo and Elsbeth. It is the device where the audience know from the beginning whodunnit and have to wonder how the culprit is going to get caught out. Ex-tennis player Tony Wendice discovers that his wife Margot has been having an affair with an American television writer, Max Halliday. Wendice concocts a plan involving his old school chum Captain Lesgate to end the affair by ending someone’s life. Three ordinary household objects become vitally important to the unravelling of the plot: one is used for an alibi; one is the murder weapon; and one is the vital instrument in capturing the killer.
At this point, i feel that it’s only fair to warn the reader that this is going to be a rave review!! The whole production is BRILLIANT!!! There is just no other word for it.
Director Warren McKenzie has given the audience the feeling that they are watching a film noir black and white classic. The Domain Theatre stage has gone and not being used for this show and there is none of the regular Galleon Theatre cabaret setting. The actors are on the flat floor and the audience sits in raked seating – just like being in a cinema watching a film unfold on the big screen. The entire production, set (designed by McKenzie and his daughter), costumes (designed by Helen Victoria), props (Elaine Latcham assisted by Mary Cummins) hair (Kathryn Stevens, Sabrina Cavioulo and Melissa Vritielka) and makeup (Cavioulo and Vritielka) are mixtures of black, white and grays. It is all just stunning to look at. They have even gone to the trouble of basing the actors’ facial makeup on the correct technique used in the old black and white films – pale faces (not white like French mimes) and dark purplish eye liner around the whole eye to make them pop (hardly noticeable but this film buff picked it up). It must be pointed out that there is one splash of colour at the beginning of the play – the leading lady is in a stunning red dress. Ardent film buffs may liken it to a scene in the black and white film “Schindler’s List” where a little girl’s dress is the only splash of colour. Those same ardent film buffs may also remember that Grace Kelly was stunning in red in the movie (the dress was designed by Hitchcock himself (this reviewer really needs to get a life lol)).
It’s obvious from this magnificent production that McKenzie has a real love and, even more importantly, a huge understanding of setting the correct feel and mood for suspense. Even to the point of using atmospheric snippets of music from the Hitchcock movie version.
The cast of five (Joshua Coldwell, Patrick Clements, Genevieve Hudson, Gary George and Simon Lancione) are as impeccable as their accents; Coldwell, Hudson and Lancione are all very upper class British with George being more middle class; and Clements delivering a very believable American accent.
Hudson could very easily be the reincarnation of Grace Kelly. Her inflections were spot on and she carried off the stiff upper lip hysteria of the day well. The fear was never overdone – a beautifully controlled performance. George is the epitome of the 1950s fictional police Inspector. The audience is with him all the way and although he doesn’t appear till Act Two, he makes his presence felt with a strong performance. Clements is that rare thing, a likable American. Although he is the instigator of the affair with Margot, Clements makes Max Halliday almost the comic relief without turning the play into a comedy. He has a nice light touch that makes his outburst in Act Two incredibly believable.
Lancione is perfect as ex-Army, old Public schoolboy. He enters full of confidence and swagger but as we learn more about him and what he is expected to do for Tony, Lancione slowly sheds his original persona and we see the shell of a fearful man. It is a beautiful piece of acting and his scene with Coldwell is riveting. It must be noted that Lancione does some great uncredited off stage voice overs as well. He’s not on stage as much as the others but certainly makes his presence felt when he is.
Coldwell as the protagonist/antagonist Wendice gives a sterling performance. This young man always gives one hundred percent in what ever role he performs and this is no exception. He oscillates between likability and maliciousness and even fear so smoothly. Out of a brilliant cast, Coldwell just positively shines. As I have mentioned above, his scene with Lancione is wonderful, but then again his interactions with all the cast are just spot on.
If you love good suspense thrillers, or more importantly, a lover of excellent, entertaining theatre – then get down to the Domain Theatre this week and catch “Dial M For Murder”. Unlike Tony Wendice, you won’t regret it.
