Agatha Christie's Mousetrap at Darlington Hippodrome

It’s amazing how some things stand the test of time despite changing fashions, changing cultures and changing tastes.  The Mousetrap was established in 1952 and over the following 67 years cinema, tv, theatre and entertainment in general have all undergone evolutions of their own.  Yet, here is one play that continues to attract audiences across the land and across the ages.

The opening night of this current production, directed by Gareth Armstrong and produced by Adam Spiegel and Stephen Waley-Cohen once again played to an almost full house – an amazing sight from within the audience and no doubt an equally encouraging and satisfying one from the stage.  The fact that most people have probably seen Christie’s most famous whodunnit at least once and still want to come back for more is testament to the brilliance of the writing and the guarantee that you are going to get a great evening’s entertainment. 

The current cast include Gwyneth Strong (best known and loved as Cassandra in Only Fools and Horses) playing Mrs Boyle, a brilliant lynchpin performance of Mollie Ralston by the wonderful Harriett Hare and a deliciously delightful Lewis Chandler playing Christopher Wren.

Set in Monkswell Hall Guest House (with some exquisite set design), the new owners Giles and his aforementioned wife Mollie take in their first set of paying guests on a bleak and snowy night.  Each present themselves having previously booked accommodation and yet all seem to be there for a different reason. Suspicions rise as one by one they are forced to interact with each other in the now snowed in hotel.  Right from the off the audience can see elements of the mystery evolve, little details that link each other and failings in credibility hitherto unobserved by the characters,  and yet we are still none the wiser or any closer to working out who the likely killer is.

The pace is perfect, allowing the audience time to play a little ‘Cluedo’ of their own as we delve further into the guests back stories but what may surprise some is how funny this play is;  the humour being neither farcical, nor distracting, but integral in creating depth of character and giving no short measure of laughs.

For obvious reasons I will not go further in exploring or explaining the story, nor will I say who actually ‘dunnit’;  like many that have come since, this story must retain it’s mystery right to the end – afterall I daren’t undo 67 years of keeping audiences guessing.

The Mousetrap is on at Darlington Hippodrome until Saturday 4^th May (Star Wars Day)

Black Coffee @ Darlington Civic

Quintessential Christie whodunit and thoroughly entertaining

Sick of poor portrayals of Hercule Poirot, her super-sleuth, Agatha Christie wrote Black Coffee, her first stage play, so that she could ensure he was as he should be.  In doing so, she set in place the basis for all subsequent Christie murders and created the blueprint for our best loved Belgian.

Set in a country house in 1929, the story is atypical of Christie's murder plays; the first third sets up the characters while preparing for the actual murder, the second third shows them all unsettled by the appearance of Hercule and his side kick Hastings, and the third is the great reveal.  The claustrophobia of being set in just one room adds to the intensity of the scenes so that by the end of the show the audience is left breathing a sigh of relief that they were not accused by association.

The plot centres on the Amory family; Sir Claud, a prominent inventor bordering on megalomaniac, his sister Caroline, Richard his son and Barbara his niece. They are obviously well to do, with the usual smattering of servants associated with 1920's aristocracy lead by Tredwell the butler and Edward Raynor, Sir Claud's personal secretary.  Completing the houseguests are Lucia Amory, Richards wife of Italian descent and an acquaintance of hers, Dr Carelli.  Sir Claud has recently designed a formula for the creation of a super explosive and it is this formula that leads to his untimely death, a death which appears to come from drinking the Black Coffee.  Of course, I'm not going to tell who did it, save to say that there are enough potential culprits to keep you guessing right to the end.

Jason Durr, of Heartbeat fame, takes the lead and plays the eponymous detective with a delectable degree of aloofness borne only from having total confidence in his ability.  He has all the quirks and skittish mannerisms, broken by occasional knowing looks to the audience, that we have come to love from the character so famously 'owned' by David Suchet.  He is both unimposing yet commanding, peripheral yet central.  I am sure that there will be many linguists challenged to locate exactly where in Belgium Jason's accent hails from, but that all adds to the entertainment of the show.

Whilst Gary Mavers as Dr Carelli continues the theme of un-placeable accents (sorry Gary but Joe Dolce sprang to mind on occasion) it was Felicity Houlbrooke, playing the delightful flapper Barbara who brought a real sense of period with her perfect take on 20's high society - not only did she have the timing and pitch to a tee, but her girly charms coupled with the use of jazz-age slang was reminiscent of Thoroughly Modern Millie.  The way she playfully goaded Robin McCallum's Hastings could have made for an entire act on its own.

Special mention must go to the scenery & set design - an art décor paradise which was stunningly lit and perfect in every detail - one of the best stages I've seen at Darlington for many years.

The Agatha Christie Theatre Company can always be relied upon to produce a totally engrossing play, remaining true to her initial writings and yet somehow making it feel very modern - this stands toe to toe with any current murder mystery and head and shoulders above pretty much anything served up on TV - well worth a trip to the Civic, just avoid having coffee in the interval.

The Verdict @ Darlington Civic

I have to admit that whilst I profess to being reasonably literate and enjoy a wide range of reading material in the bookcases at home, I have yet to enter into the realms of Agatha Christie - no particular reason, I've just found more appealing titles grab my attention first. 

Of course I am aware of the blockbusting films based on her famous novels but Monday night presented the opportunity to sample first hand a play written by Ms Christie specifically for the stage.

Verdict is very different from the standard fayre associated with Agatha Christie; for one, it is not a whodunit, we are presented first hand with the situation & witness the act with no sense of mystery.  It is more like a melodrama but this in no way detracts from the exquisite word play and character depth.

The play tells the story of Karl Hendryk, a brilliant professor who, with his wife and her cousin, have fled persecution in their country. The professor is happy to devote his time to life in a British university, where he becomes much sought after by students & teachers alike. His wife, Anya, is an invalid who resents having to leave her home & follow her husband to London.  She readily recognises her dependency on her husband and cousin, Lise, and teeters on the brink of suicidal tendencies. Whilst Karl and Lise have suppressed feelings for each other their love for Anya prevents them ever acting on these however when a rich young rich student, Helen Rollander, takes on private lessons with the professor the status quo is permanently upset.

The story plays out completely in the professors flat, there are no scene changes; this really draws you into the characters' world and adds to the intensity , especially when Anya laments being 'trapped' in a dull & soulless place. 

The cast, who arguably have much less to work with than in other Christie productions have, in my view, more scope to deliver themselves into the parts; the lack of plot twists, secrets and subterfuge demands more emotionally charged deliveries to keep the story moving and Monday's players did not disappoint at all. 

Robert Duncan plays the man who loves 2 women and is loved by 3 with an almost innocent 'absent minded professor' approach creating a beautiful yet pitiful vulnerability.  Susan Penhaligon  delivered an emotionally charged Lise beset with frustration, devotion and despair - of all the productions I have seen this year Susan's was undoubtedly the most moving.  Holly Goss, as the spoilt little rich girl Helen Rollander provides a wonderful twist on the femme fatale whilst Mark Wynter as Dr Stone adds pace and friendly direction through Karl's emotionally intense musings.  Just to balance this seriousness, Elizabeth Power's house keeper Mrs Roper has a wonderful timing, cutting through the tension as she 'eases the burden'  of there being too much tea in the house.

If you're looking for a classic Christie murder mystery then this is not for you, however if you want a wonderfully engaging play, more a why-do-it than a whodunit, and delivered by a great cast then look no further.

Agatha Christie's Verdict is at Darlington Civic Theatre from 26th Sept to 1st October