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Serving a very satisfying brew
Black Coffee Wolverhampton Grand **** THERE is a formula for Agatha Christ
murder mysteries and this one has all the elements in place – including
a real formula for an atomic bomb. There is the requisite society setting, in this case the library at Abbot's Cleve, the home of world renowned physicist – and window lock inventor - Sir Claud Amory, just outside London. Then we need a mysterious stranger, a Johnny
Foreigner no less, which is tantamount to proof of guilt in itself; then
underlying currents and agendas to give just about everyone on stage a
motive; and finally enough red herrings to stock Grimsby fish market and
a distinct lack of clues as to the real murderer until he, or she, is
revealed by brilliant deduction to which we have not been party. All good fun and excellently executed in this
fine production from Bill Kenwright and The Agatha Christie Theatre
Company. This was the first play Christie wrote herself,
apparently as a result of her being unhappy at earlier attempts by
others to dramatize her novels. It is also the only time she allowed
Hercule Poirot, a character she did not really like, to appear in one of
her own stage plays. It was premiered in 1930 and designer Simon Scullion has done a fine job with a period Art Deco set which along with Nikki Bird’s costumes sets the scene as soon as the curtain rises and before a word is spoken - you immediately know both the era and the social class you are dealing with and one in which Monsieur Poirot will be most at home. More coffee ladies: Miss Caroline (Liza Goddard), Lucia (Olivia Mace) and Barbara (Felicity Houlbrooke) With the stage set next comes the introductions
with first Olivia Mace as the rather sweet and emotional Lucia, Italian
wife of Sir Claud’ s son Richard who is obviously upset at the
appearance of mysterious Italian stranger Dr Carelli played by Gary
Mavers. Carelli knows her of old but there is something
rather sinister about their relationship, something it might need a
world famous detective to unravel. Carelli’s accent gets in the way of
the words at times but he everyone’s credible suspect, what with being
foreign and all. Then there is the talkative (as in hind legs and
probably front legs as well off the proverbial donkey) Miss Caroline,
Sir Claud’s sister played with the delightful assurance of experience by
Liza Goddard and the flighty Barbara, Sir Claude’s niece, played with
bubbly enthusiasm by Felicity Houlbrooke who is just a little too
worldly wise for Miss Caroline. Sir Claud’s son Richard, played by Ben Nealon,
seems a bit quick to jump to conclusions and a bit insecure – not
surprising as Sir Claud keeps him on a tight financial leash. Then there is the patriarch and soon to be murder
victim Sir Claud, filthy rich, gruff, tough and played by Ric Recate. Having had Tredwell the butler, played by Martin
Carroll, lock all the doors he makes a startling announcement – one of
the last things he says and one that heralds the arrival of Hercule
Poirot and his faithful assistant Captain Hastings, played with capital
vagueness by Robin McCallum. The household is complete with personal
secretary Edward Raynor, flitting around in the background played by
Mark Jackson.
Poirot, first played on stage by Charles Laughton incidentally, is not the easiest of roles having Peter Ustinov, Albert Finney and most recently David Suchet in its screen CV but Robert Powell makes the dapper, diminutive Belgian detective his own, even throwing in a little humour here and there, including the playful end, to lighten the drama. His accent is enough to make you think Belgian without needing a translator’s ear to follow what he is saying and the result is such a polished performance that even Christie might have found a new fondness for the detective she disliked so much. Poirot had arrived to solve the first crime and
finds himself embroiled in a second, as well as solving a third in a
sort of three for two detective’s bonus offer. The amazing thing about the drawing room dramas
is the speed, or lack of it, with which the police, invariably Scotland
Yard, appear when a murder is discovered, leaving Poirot in charge for
hours of course. Eventually Insp Japp of the Yard turns up, played
with a moustache of authority by Eric Carte, and his appearance is only
because he happened to be clearing up another case in the neighbourhood,.
He arrives with Pc Johnson, Kieran Moloney seemingly happy that the
Yard’s role in these affairs is largely assisting the good Hercule who
builds his case meticulously from the tiniest of clues – some so small
the audience never see them. Directed by Joe Harmston this is a well paced
production and three acts, instead of the usual two, means that there
are two opportunities to create a climax for the audience to discuss
their theories of whodunit over speedily quaffed drinks and ice creams
in the two 10 minute intervals. With an elegant and very solid appearing set, a
well managed plot and fine acting this is the best Agatha Christie
production I have seen for some time keeping you guessing to the end. Roger Clarke
**** WELL, that’s one problem solved then. Could anyone step into the shoes, or wear that unique moustache, of super sleuth Hercule Poirot with as much style and comfort as David Suchet? After the opening night performance of
The man who starred opposite Jasper Carrott in
the hit BBC TV comedy, the Detectives, is in a much more serious role as
the immaculately dressed Belgian detective, and he carries it off with
aplomb.
Powell produces a suitable accent as he stalks
the stage investigating the apparent poisoning of eccentric inventor Sir
Claud Amory and the theft of his earth shattering formula. Every glance,
shrug or glare is convincing, so that even the most ardent Suchet fan
would feel satisfied. As usual there are several suspects in the
outstanding cast, in addition to dodgy clues as Poirot arrives at Sir
Claud’s English country estate and begins to find whodunit, and you can
only wonder how he knows what he knows. Who knows? By the time the police turn up in the shape of
Inspector Japp (Eric Carte), sporting a bigger, if not better, moustache
than Hercule, the Belgian has already got is man...or woman, in his
sights. The play includes many humourous scenes as well
as drama, with members of the posh family dismissing suspicious Italian,
Dr Carelli (Gary Mavers) as naturally inferior to the English, much to
the amusement of Poirot. A lovely performance from Liza Goddard as Sir
Claud’s sister, Caroline, and fine contributions from Olivia Mace (Lucia
Amory), Ben Nealon (Lucia’s husband, Richard) and Robin McCallum
(Captain Arthur Hastings). Directed by Joe Harmston, the Agatha Christie
Theatre Company’s production is given added strength by a superb set. To
08.02.14 Paul Marston
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what
was Agatha Christie’s first play, the verdict is unanimous. Much loved
award-winning actor Robert Powell