And Then There Were None

 As a young child, I saw And Then There Were None in black and white, made in 1945. It may have been an old movie even then but it was enough to frighten the wits out of me and inspired me to read Ms Christie’s original book a few years later which was considerably more chilling.

Having recently become acquainted with the Wells Little Theatre group I was very much looking forward to seeing this – and, oh wow, this show did not disappoint! Beautifully directed and horoughly faithful to the original story, this was a gripping piece of art, every bit as well planned as the murders in the story.

It is 1939. Ten perfect strangers have been summoned one way or another to Soldier Island for the weekend by the mysterious Mr and Mrs Owen. Many of them are looking forward to an indulgent weekend and some have been contracted to look after the guests and estate. Each person harbours a dark secret in their past which they never speak of. Only one has any inkling of the horror that awaits. After arriving, the group gathers in the drawing room. A gramophone record plays and a disembodied voice indicts each person in turn with a long past unsolved murder. Accusations and denials fly but very soon first one then another guest dies. The weather worsens, there is no route out. The authenticity of the recording and the awful price they are to pay, become a grim reality.

The curtains open onto a gorgeously appointed set adorned in Art Deco style , depicting a seaside lodge with glorious views to the sea.  At the back of the stage is a pair of French windows that open onto a balcony. On the hearth is an unobtrusive set of clay or porcelain soldier dolls. They number ten.

As the guests begin to arrive, a brave decision was made to have a couple of characters smoking cigarettes (it was stressed that these were herbal before the play began). This was a great move, it set the scene perfectly and it was an indication of the attention to detail of the time that was to come.

The staff, Thomas and Ethel Rogers were delightfully understated as the perfect Jeeves and Mrs Beeton in the company of the guests but Thomas directed an ominously bullying nature at the nervous Ethel when the two were alone.  Vera Claythorne was played with great relish and conveyed a breezy competence in her role as secretary to the unknown host whilst not being shy of dressing up and socialising with the party – her resilience becomes increasingly apparent through the play, keeping you guessing as to the accuracy of the accusations levelled at her.

Throughout the piece, there was not a character out of place, Lombard charming and believable as he tries to win the affections of Vera, Dr Armstrong believable and compelling as you try to work out if he is guilty. Marston, a charming and fey socialite, bouncing around the stage with believable gaucheness. Emily Brent was deliciously catty with Vera in her irritable disapproval of Vera’s carefree manner and dress.  The two actresses provided some lovely moments.   William Blore erupted onto the stage and although wonderfully humorous, was entirely authentic in his portrayal. Judge Lawrence and poor old General McEnzie also provided very well-seasoned performances.

In texts from another time, it is often a tickly business dealing with dialogue that holds to ideals and prejudices no longer considered polite today. In my experience it only really works when it is delivered with truthful performance. Not once did this miss. The performances were thoughtful and authentic. The characters were considered and natural and the pace was dynamic – consistently high energy throughout.

A note should be added to the deaths, always very difficult to portray.  These were handled deftly and, the more physically violent (the poisoning of Marston) were grisly enough to evoke nervous titters from the audience, while the quieter deaths were wonderfully satisfying in that the audience knew before the characters as the players stilled and froze. After each, the audience became aware that one of the ornamental soldiers had gone. Brilliant!

Finally, a final credit should be awarded to the technical team.  There were candle-lit scenes, scenes with scant lighting and scenes with howling wind. All effects should only enhance a show and provide context, never too noticeable or loud. The techies delivered – this added at every turn to the general and growing eeriness.

In conclusion – as autumn begins to materialise and shadows form outside at night, Wells Little Theatre’s And Then There Were None will play on my mind as every bit as memorable as the film I saw as a child. Well done!

Katie Jones

NODA

 

 

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