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Stars explained: * A production of no real merit
with failings in all areas. ** A production showing evidence of not
enough time or effort, or even talent, and which never breathes any real
life into the piece – or a show lumbered with a terrible script. *** A
good enjoyable show which might have some small flaws but has largely
achieved what it set out to do.**** An excellent show which shows a
great deal of work and stage craft with no noticeable or major
flaws.***** A four star show which has found that extra bit of magic
which lifts theatre to another plane. |
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Daniel Robert Beaton as Max and Samantha Lawson as Sheila Dial M for Murder
Hall Green Little Theatre
**** THE moral of this tale of dirty deeds,
betrayal and revenge? Don’t employ a work experience hit man. This Frederick Knott play was made famous by
Alfred Hitchock in one of his best movies and 65 years on it is still a
treat for thriller fans. Tony Wendice is, or rather was, a somewhat
penniless playboy tennis star in the days before big money came along,
and with a lifestyle and income at odds with each other, solved the
solvency problem by marrying for love – the love of money that is. Al McCaughey has the tall, lean looks of a tennis
player, and the mannerisms, confidence and easy charm of a public school
educated sports star in a convincing performance. Wife Sheila was a fan, so was easy to woo, and
although not heiress to a huge fortune – Tony’ first choice - is still a
wealthy woman, her £29,000 in 1952 would be worth upwards of £800,000
today, enough to buy a lot of love. Tired of his being away with constant touring she
had asked him time and again to give up tennis which, to her great
surprise a year ago, he did, abruptly, to spend more time with her and
becoming instead a sports goods sales rep. True love at last? Don’t bet
on it. Samantha Lawson gives us a Sheila who, to be
honest, is a bit wet. She seems a submissive sort, an ideal candidate
for being a victim. When her world explodes around her she goes to
pieces and becomes fatally compliant. Then there is Max, an American TV screenwriter
who has returned to London after a year working in the USA, and who has
contacted old friend Sheila again, friendship being a broad church in
this instance. He has called round to see her and to meet Tony – a year
after he departed for the US and a year after Tony retired – to the day.
Coincidence or what? Daniel Robert Beaton has come up through the HGLT
youth theatre and gives a mature, assured performance as the long
distance lover boy.
Into this love triangle drifts Captain Lesgate an
old school acquaintance rather than friend of Tony. They knew of rather
than knew each other at school and while Wendice became a successful
tennis star, Lesgate has become a rather less successful small time
crook and conman. Steve Brear is convincing as the petty criminal,
suitably smarmy and shifty as he lies his way through yet another dodgy
deal. Yet his time has come, and he is about to play
the biggest con of his life, which brings in the long arm of the ever
reliable Jon Richardson as the unsmiling, rather intense Inspector
Hubbard of Maida Vale CID. The play started life
as a Sunday Night Theatre production on BBC in 1952, transferring to the
West End that summer and Broadway in the Autumn and was turned into a
film by Hitchcock, in 3D no less, two years later starring
Ray Milland and Grace Kelly. It was
praised from the outset for its clever plot and despite its age that
still applies. The ingenious storyline is built, slowly and patiently,
bit by bit, like a routemap, so you know exactly what is going to happen
and when – except the best laid plans and all that . . . So we have
the first twist and a change to Plan B, and, as everything seems to be
drifting along to its new conclusion and the final curtain along comes a
second turnaround in the plot for an unexpected dramatic finale. Julia Roden
has designed a substantial and convincing looking set with a look of the
1950s and director Steve Fisher keeps up a good pace, although perhaps
the extended scene changes could be speeded up as everything takes place
on the same, London flat set. Breaks in momentum are not really helpful
to a thriller. Using a
picture on the wall as a video screen for one scene works on one level
although the tension perhaps might have been just as effective, if not
more so, without it. At times imagination trumps visual aids when it
comes to building tension, but that is perhaps a bit nit-picking in what
is a well-paced, well-acted murder mystery which still has one of the
most inventive plots of the genre. A night of real pleasure for thriller
buffs. To 11-02-17 Roger
Clarke 03-02-17 |
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