And Then There Were None

After performing in this Agatha Christie classic at the start of my own acting career and having directed the play for a local theatre company back in 1983, I arrived at St Michael’s Hall already knowing full well ‘whodunnit’. However, this didn’t prevent me in any way from enjoying the drama that was about to unfold in this latest Stone Revellers production.

Considered to be Agatha Christie’s greatest and most successful work with more than 100 million copies sold worldwide, ‘And Then There Were None’ - under its original title - opened at St James’s Theatre in London’s West End in November 1943. The stage adaptation's plot largely follows that of the original novel published four years earlier in which eight unrelated guests arrive on a remote island off the coast of Devon where a hired domestic couple have already been engaged to get the house ready for their stay.

The protagonists have been lured to the island under false pretences by a mysterious U N Owen and, on arrival, have become unescapably cut off from the outside world by a raging storm and every other living thing but each other. The dark secrets of their past crimes for which they must pay can now take place in a series of acts of ultimate justice.

Skilfully replicating the art deco luxury of the hotel on Burgh Island off the south coast of Devon which had inspired Agatha Christie’s original story, the open stage living room set, had been cleverly designed and tastefully decorated.

As the house lights faded, some eerie staccato violin music set the mood perfectly for the opening scene and as the stage brightened, the music seamlessly crossfaded into the sound of ocean waves lapping on the shore with seagulls overhead as pipe-smoking ferryman Narracot (Simone Plant) arrived carrying a box of provisions. Mrs Rogers, played by Katie Elliff, was still in a bit of a fluster with much to do, but continued busying herself around the room preparing for the imminent arrival of the guests who quickly followed.

From here the plot thickens as each of our unlucky ten attempt to put paid to the skeletons in their individual cupboards and try to wiggle out of the grave accusations levied against them. Whilst there is a predictable conclusion to this piece, there is a good helping of twists and turns along the way which may have had you guessing ‘whodunnit’ right up to the final curtain.

The role of the intelligent and capable secretary Vera Claythorne was played by Emma Wilson. She gave an excellent performance with a very clear voice and showed particular skill in the way she became more agitated as the action unfolded.

As Philip Lombard, the joker of the pack, Adam Fray gave a confident, bold and, at times, mysterious performance. He was clearly attracted to Vera and their final ‘last man/woman standing’ scene was exceptionally well acted.

Joe Jenkinson as Anthony Marston, a rich 1930’s toff and with a love of fast cars, did not survive for long on the island but played his role well with some good facial expressions.

General Mackenzie portrayed by Mike Duckworth is the oldest character in this work. His demeanour as a frail old soldier was sympathetic and very believable and his Scottish accent absolutely flawless.

There was another excellent no-nonsense performance from Charl Andrews as Emily Brent, the poe-faced disapproving spinster who spends most of her time with her head stuck in a bible and is seemingly oblivious to what’s going on around her.

Simon Hills’ portrayal of William Blore was highly believable, especially in his opening conversations masquerading as a South African. He went on to impress us all as the ex-CID detective he really is.

As Sir Lawrence Wargrave, a recently retired judge, Neil Noman gave a very controlled and polished performance. Wargrave is widely experienced in criminal law having spent many years on the bench and has a cold and commanding authority which Neil portrayed to a tee.

Dr Armstrong is a slightly timid character, full of nerves and worries. As a renowned Harley Street specialist, he is the perfect suspect of his fellow housemates because of his medical knowledge. This was another excellent performance by Tamsin Brown.

Sean Galloghly’s direction of the play was absolutely top notch. He obviously had a clear understanding of the period in which the play was set and had carefully addressed the challenging relationships between the characters to provide some highly plausible moments which were both carefree and amusing and, at other times, emotionally charged and highly fraught!  Good pace, grouping and general movement was also maintained well throughout the production.

It was difficult to pinpoint the exact era of the play from the costumes, but they all suited the various characters well.

The choice of opening music and general sound effects were of a very high standard as was the stage lighting, greatly enhancing the various times of day throughout the piece.

The props were also well thought out and managed quickly and effectively in the blackouts between scenes.

In conclusion, many congratulations Stone Revellers. You did a great job and I look forward to seeing your next production in the luxury of the new Crown Wharf Theatre from where I hope you will continue to be successful in entertaining the good people of Stone and surrounding districts for many years to come.

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