AND THEN THERE WERE NONE

This intriguing Agatha Christie play gave a strongly interactive and integrated cast the chance to keep us guessing until the end.  The play was well-directed, and each character was individual and diverse, which added to the interest.

The set was stunning – showing the inside of the Drawing Room, with French doors out onto the balcony, with a delightful depiction of the sky and a painted 3D balustrade that looked entirely real.  The inside was well-appointed and painted to look like a minor manor house, with typical and blended furniture – a great effect.

The play was set in the 50’s, and costumes hairstyles were all suitable, but remember wigs also need to be of the period!  The men all looked smart and very much in keeping with the era, whilst the ladies clothes echoed the feel of the times, colourful, smart and more casual, a nice mix.

Lighting and sound were good, with some nice effects with the dimming of lights, candle lights and just one light on Vera and Philip at the back of the stage being very effective.  Good imagination used for a box set, so creatively well-achieved.

And so….. on to the cast of supposed murderers, invited to an island house, where they were to meet their untimely ends!!

There were three ‘new’ men all of whom acquitted themselves well -  Adam Carter (Fred Narracott), a fun portrayal of the boat captain, with a pleasant regional accent, a move from playing in the band for pantomime.  Another move from the band was Robert Short (Rogers), who acted the part well, and created a good relationship with his wife.  The third was Doug Hobson (Anthony Marston), who generated the typical young man about town type very well.

Becky Vernon-Clinch (Mrs Rogers) shaped a great portrayal, even down to the particular walk, which leant itself well to the sharp edginess of her character.  It was easy to see who was in charge in the Rogers household.

Alice Regan (Vera Claythorne) was the epitome of a young lady trying to make her way in the world, a very positive character, flirting with Philip and trying to uphold her place as the linchpin between her employer and the guests – very well done.  One note of caution, when Vera had her meltdown her voice became more and more shrill which meant the words were not always clear, perhaps think about starting lower and intense then moving up the hysteria scale to a climax.

Rob Kirk (Philip Lombard) created the ex-army officer with a devil-may-care attitude so well, I loved how he had a twinkle in his eye when flirting with Vera, but that was quickly replaced with a stony glint with the other cast members – well-achieved.

Andy Turner (General Mackenzie) – a small but telling part, which gave the General plenty of scope for diversity in his reactions, carried out with his usual flair and aplomb.

Katherine O’Sullivan (Ada Blore) started out masquerading as a South African, and I loved the way her accent wasn’t too pronounced, but when she said ‘South African’ it came to the fore.  A good transition to the police officer, showing a more forceful side to her portrayal.  Nicely acted.

Hilary Williams-Violentano (Emily Brent) shaped a slightly dithery but mentally acute lady, who gave the impression she wasn’t sure why she had been invited, extremely well-fashioned and a good foil to the other ladies, as was Benita Gilliam (Dr Armstrong), a psychologist with a dubious past, and who seemed in need of her own form of treatment – an excellently shaped portrayal.

Our final protagonist was Tracey Couch (Justice Wargrave), no doubting the acute legal mind at work, whilst balanced on a fine edge of possible insanity.  Very well-achieved.

My thanks to Redbourn Players for their continued hospitality which is much appreciated, and for a well-directed and acted play, along with a stunning set.  Congratulations to everyone involved.

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