Agatha Christie's Murder In The Studio

From the moment I arrived at Riding Mill Drama Club’s much anticipated 75th anniversary production of Agatha Christie's “Murder in the Studio”, I knew I was in for a real treat. The front of house team, dressed head to toe in authentic 1950s attire, immediately transported me back in time. The raffle featured a pineapple – a delightful nod to its status as a rare and precious commodity in the era, and a detail that set the tone for the evening’s immersive experience.

The venue itself was utterly charming and perfectly suited to the play and its historical backdrop. The story cleverly intertwined the history of the Riding Mill Drama Club, making the whole occasion feel truly special. In celebration of the club’s 75 years, we were whisked back to 1950, witnessing the drama club’s ‘formation’ by the local WI and experiencing their inaugural production. Adding to the excitement, the renowned BBC Radio Players had come to the village to be part of a special broadcast of two Agatha Christie plays – “Yellow Iris” and “Personal Call”.

The inventive premise had the BBC Radio Players, a group of celebrated actors, involved in both plays, with the second play featuring unexpected ‘drama’ due to the actors’ own personal entanglements (all skilfully woven into the performance) and the Riding Mill Drama Club players join the broadcast. Even the paper programme enhanced the realism by introducing each Radio Player through the lens of their character, rather than the performer, drawing us deeper into the 1950s world.

Ten BBC Players took to the stage during the broadcasts, joined by the vivacious BBC Radio Songsters, who opened Act Two with four delightful numbers. Their harmonies were heavenly, treating the audience to classics like “Dream a Little Dream of Me”, “Paper Moon”, “Somewhere Over the Rainbow”, and “Don’t Sit Under the Apple Tree”. Members of the 1950s Riding Mill Drama Club participated in the live ‘broadcast’, expertly handling sound effects, technical audio, and lighting – another layer of authenticity that made the experience so immersive.

As the evening unfolded, the audience had the unexpected pleasure of encountering a local 1950s police officer, who gamely questioned us, and the biggest surprise of them all, the incomparable Miss Marple, who arrived in her trademark style to solve the crime! This was essentially three captivating dramas within a drama – and I absolutely loved every minute of it. Words truly fail to capture just how brilliant it all was.

The staging was simple yet effective: a plain silk backcloth transformed by evocative lighting, four vintage ribbon microphones, a sound desk, and carefully arranged seating for the players and the plays songstress Carolyn Hagger. The attention to detail was impeccable, from the initial welcome and costumes, to the pineapple raffle, to the interval – where a 1950s policeman interrogated us as we enjoyed our choc ices. Even the countdown to broadcast, complete with the iconic little red light, gave us the sense that we were genuinely part of a live radio event. Every element felt fresh, well thought out, and wonderfully authentic – the sort of production Beamish Museum itself would be proud to host!

The cast were, quite simply, superb. Every single contributor, from the sound artists to the players and songsters, was marvellous. The club showcased an astonishing array of talent, ensuring that every moment on stage sparkled. I truly wish I could praise each cast member by name, but a few deserve a special mention. Kris Anderson, as our evening’s host and BBC Chief Announcer Alvar Lidell, was the epitome of 1950s BBC sophistication – it genuinely felt as if he’d stepped straight out of a time machine. Frances Hewitt made a dramatic entrance as leading lady Grace Deveraux, channelling all the glamour and fiery presence of Cruella de Vil (accents and all!). Shaun Fenwick, meanwhile, excelled as Patrick Blake and as Hercule Poirot, impressively mastering a range of accents and stage personas.

After not having a NODA visit in 13 years, this production was a genuine triumph – professional in every way, with not a hint of amateurism. The costumes, sound, props, and overall production values were simply outstanding. I left thoroughly delighted and am already counting down the days until the next show in March 2026. Bravo to everyone involved – this was a truly unforgettable theatrical experience!

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