And Then There Were None

Grantham Dramatic Society’s production of And Then There Were None offered me a fresh chance to revisit one of Agatha Christie’s most atmospheric and tightly constructed mysteries—an ensemble piece celebrated for its brooding tension, cleverly planted clues, and ever-shifting suspicions. First published in 1939 and later adapted for the stage by Christie herself, the play has long captivated audiences with its psychological depth and meticulously crafted structure. As a devoted Agatha Christie fan, I was feeling particularly fortunate as this my second production from the ‘Queen of Crime’ in less than a month within my NODA district and so I approached this performance with high expectations and no small amount of excitement, especially given the consistently high standard of previous productions from this society.

As I’ve just mentioned, this is very much an ensemble piece, and the 10-strong cast (plus one memorable cameo) worked cohesively throughout, demonstrating a strong sense of teamwork that kept the production engaging. Their projection and diction were consistently clear, allowing every line - no matter how quietly delivered or tension-laden - to land with precision. Each performer showed confident stage craft, navigating the space with purpose and supporting the shifting atmosphere of the piece. Although the pace occasionally dropped, the cast’s attentive listening and responsive interactions ensured that the momentum was always recovered, creating a believable web of relationships that ultimately elevated the overall storytelling.

The first characters we met were the household staff, who set the tone for the guests’ arrival. John Webber, as Narracott the boatman, appeared only briefly, but he made his cameo count with an impressively steady West Country accent and broad, no-nonsense mannerisms that immediately established the island’s remoteness. Leigh Matsell and Nicki McKay, as the married butler and cook, brought a pleasant authenticity to their roles. They handled their duties on stage with reliability and a clear understanding of their characters’ place within the story early, providing a solid and dependable foundation to the play’s early dynamics.

Then the guests began to arrive, and we were introduced to an eclectic mix of characters from all walks of life, each bringing their own energy to the unfolding story. James Bell’s portrayal of Philip Lombard was confident and suitably roguish, capturing the resourceful, self-assured nature expected of the character while maintaining a measured intensity that hinted at the darker undertones of his persona. In contrast, Alex Crisp’s Anthony Marston brought a lighter, more flamboyant energy, channelling a Terry-Thomas-style charm with phrases like “I say, old man” and “How wizard!” His caddish performance, full of cheeky banter and playful swagger, provided much of the humour in the early scenes and offered a lively counterpoint to the growing tension.

Martin Noble’s performance as William Blore was quietly compelling, delivering a natural and measured portrayal that suited the character’s grounded, observant nature. His lines were well-paced, and he conveyed Blore’s growing agitation with subtlety, making the moments of tension feel earned and believable. Tony Hine, as General McKenzie, brought a wonderfully authentic nervous energy to the role. He captured the character’s dithering mannerisms perfectly, and his stunned, wide-eyed reactions as his anxiety escalated were both believable and engaging, adding a layer of vulnerability that contrasted nicely with the other guests’ more assured demeanours.

Gary Monro’s Sir Lawrence Wargrave was composed and assured throughout, bringing a steady presence to the role. His delivery was even and restrained, maintaining a calm authority that suited the character and carried the denouement with poise and clarity. Sharne Gimbert, as Doctor Armstrong, gave a highly enjoyable performance, combining sharp, clipped delivery with excellent reactions to the unfolding drama. Her portrayal of mild hysteria toward the climax was particularly effective—tension-filled yet controlled—showing a keen sense of timing without ever overplaying the role.

Of all the performances, I was most impressed with Tina Knight as Emily Brent and Joanna Freeman as Vera Claythorne, both beautifully understated yet speaking volumes through subtle intonation, facial work and ‘eye-acting’. Tina Knight’s Emily Brent was stern and blunt, with a crisp diction and pointed delivery that perfectly conveyed her suspicious, moralising nature; her curt, brusque manner and disapproving looks added a sharp edge to every interaction. Joanna Freeman’s Vera Claythorne was cool and collected yet layered with emotion—her recollection of the child’s death was handled with quiet intensity, and her growing fear was conveyed through nuanced facial expressions and body language. By the denouement, Joanna looked genuinely terrified, convincingly intimidated by the unfolding events. The scene between Tina and Joanna was particularly compelling, the tension between the two women expertly crafted and utterly gripping.

The strong performances were matched by very confident direction from Helen Pack and her assistant Sarah Clark, who clearly had a firm grasp on both the story and the space. The limited stage was used exceptionally well, particularly when all ten suspects were on stage at once, giving the scenes a tense, claustrophobic feel. The choreography of the characters within the space was carefully considered, with every movement appearing purposeful and contributing to the storytelling. They handled the large amount of exposition thoughtfully and, for the most part, maintained the rhythm of the dialogue. The one moment I would have adjusted was Emily’s position before her ‘exit’ - she remained in full view of the other characters for longer than seemed credible, even allowing for suspension of disbelief.

Beyond that, the attention to detail was superb, and the use of sound and lighting heightened the suspense and enhanced the overall impact of the production. Huge congratulations are due to Helen, Sarah, Hugh Butterworth, and the Guildhall team for their outstanding work, which added so much to the atmosphere of the production. The lighting was so effective, both atmospheric and purposeful, using subtle shifts to highlight and focus attention on the victims and heighten dramatic tension. The candlelit Act 2, Scene 2 was especially memorable, with the flickering orange glow casting ominous shadows that perfectly matched the suspense of the scene. The sound design was equally impressive, from the ambient calls of seagulls and the crashing sea at the start, to the eerie effects accompanying a character’s recollections - each detail enhanced the tension and mood. One small note was that one of the gunshots could have been slightly louder for added impact. I also really enjoyed the incidental music composed by Gary Marsh, which accompanied the more dramatic, tense moments and added an extra layer of emotion and intensity to the action on stage.

Congratulations are due to Tom McKay and his team for a beautifully designed and constructed set—a 1930s seaside residence “morning room” with elegant Art Deco touches. I particularly loved the archway, the subtle geometric detailing, and the careful attention to elements such as the picture rail, skirting board, and even the light switch. The high flats and the relatively compact playing space added to the looming, ominous, and suffocating atmosphere that suits Christie’s story so well. The only minor point was the area outside the French windows, which looked a little unfinished; perhaps a balustrade could have added extra visual interest. Props and set dressing, handled by Heather Butterworth and her team, were entirely appropriate to the period, and I especially liked the Art Deco drinks table. The two paintings either side of the set were a lovely touch, visually echoing the journey of the play—bright, refreshing, and positive at the outset, but dark, imposing, and sinister by the end. Costumes, hair, and makeup by Briony Sparrow, Bobby Alner, and Rosemary Gibson were largely of the period and well considered; I particularly liked both of Vera’s dresses and Dr Armstrong’s tweed two-piece, which suited her character perfectly.

Credit must go to producer, Sophie Read, and stage manager, Wendy Allen, along with her stage crew, for keeping the production running smoothly and ensuring everything came together seamlessly on the night. Finally, I loved the poster and programme cover design by Helen Pack—the image was cleverly linked to the second painting on the set, creating a neat visual connection with the production itself. Overall, Grantham Dramatic Society delivered another solid and enjoyable performance, demonstrating their continued commitment to high standards in both presentation and storytelling. It was a thoroughly engaging evening, and all involved deserve thanks for bringing this classic Agatha Christie tale to life.

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