And Then There Were None

The Windmill Players have long been known for their commitment to high-quality community theatre, and their latest production of Agatha Christie’s And Then There Were None, directed by Bernard Melling, was no exception. 

Christie’s celebrated thriller follows ten strangers invited to a remote island under mysterious circumstances, only to find themselves accused of terrible crimes. As they begin to meet their fates one by one, the tension builds until no one can be sure who to trust. It’s a story that depends heavily on atmosphere and suspense, and for those unfamiliar with the ending, the uncertainty added a genuine sense of unease and anticipation throughout.

From the moment the audience entered the auditorium, the scene was well set. Period music played quietly in the background, instantly placing everyone in the right time and mood without ever feeling forced. The box set (Ian Flynn, Peter Brown, Tina Warren and Mark Edmonds) was thoughtfully designed, with all the action unfolding in the same room of the house. Although there were no set changes between scenes, carefully judged lighting shifts conveyed the time of day and the changing weather, effectively keeping the stage picture dynamic. The staging made excellent use of the available space and maintained a sense of realism while accommodating the full cast comfortably.

Props (Marjorie Brown and Denise Flynn) were carefully chosen and used to great effect by the cast. The inclusion of a gun and a well-stocked liquor table added an authentic and plot relevant touch. Particularly impressive was the attention to detail with the luggage, each character had their own distinct case or bag, in keeping with their background and personality. These thoughtful touches enhanced the realism of the piece and subtly reinforced the individuality of each guest.

The first act was particularly strong, marked by confident pacing and lively interplay between the characters. The cast were well chosen, each performer creating a distinct and believable personality from the start. There was a real sense of ensemble, and the energy between the actors kept the tension alive throughout. Technical elements were also of a high standard, the stunts were cleanly and convincingly executed, with the gunshots causing several audience members to literally jump from their seats. Sound effects (Peter Jones) were particularly effective, from the caws of seagulls to the rumbling of distant storms, all helping to build the eerie isolation of the island setting.

The second and third acts, each divided into two scenes, remained enjoyable but did not quite maintain the same pace as the first. Two breaks following the interval disrupted the flow slightly. When the curtain first fell after the interval, several audience members assumed it signalled the raffle and some left the auditorium, only to be surprised when the curtain rose again moments later. Shortly afterwards, the curtain did fall for the raffle, which, while a valued way to raise funds for the group, unfortunately broke the momentum of the story and diluted the tension that had been so carefully established. When the play resumed, the shift in energy was noticeable, and the final scene suffered slightly, with a few prompts required from backstage.

Costumes (Angela Hudson and Denise Flynn) were very well chosen for the period and complemented each character nicely. Lighting design (Martin Judge) was excellent throughout the first act, adding atmosphere and focus to key moments. Although there were a few minor glitches in the third act, these were handled well and did not significantly detract from the overall quality of the production.

This was a polished and well-presented production from The Windmill Players, atmospheric, well acted, and rich in detail. Despite a few interruptions to the play’s rhythm, it remained an engaging evening of classic theatre. The company should be proud of their efforts in bringing Christie’s timeless mystery to life with such care, style, and enthusiasm.

 

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