And Then There Were None

Agatha Christie described this as her most difficult novel to write, and it is probably her most difficult story to stage as well. The novel was first published in 1939. It is very much of its time and has over the years had two further changes of title, the last being in 1986 for reasons of inappropriate racial language. It does however remain the World’s bestselling mystery novel to this day. So full marks to Bryony Mountfort for taking it on as her directorial debut and who had obviously put her all into it.

Eight people unknown to each other arrive on an island as guests of the mysterious Mr and Mrs Owen who are ‘supposedly’ not arriving themselves until the following morning, but never appear. They are greeted by the Butler and his wife who themselves have never met their employers either. On the wall of the living room is a poem ‘Ten Little Soldier Boys’ describing how each of them meets a grisly end and on the shelf underneath it are ten miniature statues to signify the eight guests together with the Butler and his wife. Each in turn then meets a death as described in the poem and the statues disappear one by one. And then there were…..

The set, created by Phil and Jenny Vass and under the management of Phil Vass with a crew of Chris Martin and Caitlin Martin was a cosy living room of a thirty’s country house, with double French windows centre stage rear, leading to an outside wooden balustrade balcony, two comfy armchairs and a sofa with a rather ill-fitting cover, and a table with obligatory drinks tray for any play of this era. To rear stage left was a single white door leading to other areas of the house which was very effectively used for the final scene. This area was also classed as the study and where the bodies were being stored. And on the rear wall was a poignant picture of a polar bear, which tied up neatly with the one of the murders as prophesied in a line of the Ten Little Soldier Boys poem.  

The set was very well lit by Andrew Peters, especially when it came to the late evening scene in the second act complete with flickering lights to represent the thunderstorm taking place outside and sound by Dave Masterson was crystal clear, with perfectly timed sound effects. Excellent job by the backstage crew.

The actors certainly got the period very well indeed, with clipped, slightly plumy accents as per the period portrayed.

Good to see Barry Mealing, taking on the role of the butler Rogers, in his first role for The Players and apparently his first back on stage for several decades. A very welcome new face for the Players audience to enjoy.

Hats off to Mel Dummer as Mrs Rogers the maid who took on the part with four weeks notice after the previous cast member had to withdraw. If I hadn’t been told I would never have known. A very confidant performance and she fitted in like a glove.

With his brief appearance Colin Carroll as the boatman Fred Naracott played the sea faring equivalent of a country yokel and was great fun, providing a total contrast to the passengers he ferried over to the island.

Craig Smoothy as Philip Lombard kept you guessing until the end. Definitely nailed the period character perfectly but with exterior attitude of enjoying the mystery, which threw suspicion on him as the possible murderer.

The other two ladies in the cast, Sam Falder as the slightly bewildered secretary Vera Claythorne and Rebecca Keeves as morally upright spinster Emily Brent were both excellent.  The scene where Vera is fending off Lombard’s advances was particularly well done, and Emily Brent’s superior religious attitude to her fellow guests was brilliantly objectionable and her demise inevitable.

The young Anthony Marston as the youngest guest bewildered as to why he was invited was well played by Joe Mountfort.

Graham Virgo played detective William Blore, whose disguise as a South African was soon uncovered. He got the fictitious slightly off South African accent and his somewhat irritation at being unmasked very well.

Jon Mountfort as General McKenzie played this senile part particularly well, sitting upright on the sofa staring blankly into space and not quite aware of his surroundings was excellent to watch.

Matthew Head was a very convincing Dr Edward Armstrong with a full-time occupation of checking the pulses of dead bodies.

If anybody in Gamlingay Players has the gravitas to play a knight of the realm it has to be Fred Hammett, who as Sir Lawrence Wargrave commanded the stage whilst mostly seated in an armchair.  

This was great fun and thoroughly enjoyed by the audience. There were some well-directed moves on an often overcrowded stage with a cast of eleven. The deaths were all very well done with the special effect of the hanging at the end particularly impressive and well thought out. There were however quite a few prompts taken, one or two slightly late entrances and some ugly pauses at times where the script had obviously gone missing, which did have an effect on the pace, that definitely needed to be picked up at times. And if I may be so bold as to offer a tip; when delivering a speech, unless there is a reason to move, stay in position. Walking from one side of the stage to the other for no reason may of course relieve nerves and tension though it can be distracting.

So well done to Bryony Mountfort, her cast and crew, a thoroughly enjoyable grassroots production, which is not an easy one to do and it probably deserved a longer run than just the two nights at the Eco-Hub.

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