Black Coffee

For me, there is a particular thrill that comes with the curtains opening on an Agatha Christie play — that delicious promise of intrigue, wit, and the inevitable unmasking of a murderer. As a lifelong devotee of Christie’s deftly spun mysteries, I arrived at Blackfriars Arts Centre with eager anticipation of Boston Playgoers’ latest offering. The only original stage play to feature Christie’s most famous detective, Hercule Poirot, Black Coffee offers a tantalising blend of scientific secrets, family tensions, and, of course, a body in the library. From the moment the lights dimmed, it was clear this production understood not only Christie’s precise craftsmanship but also the sheer joy of her world: a place where logic triumphs, eccentricity is celebrated, and even murder is served with impeccable manners. What followed was an evening of tantalising suspense and sparkling performances — a true treat for any whodunnit lover.

I don’t often begin my show reports focusing on the director, but credit where credit is due, at the heart of this superb production was its brilliant director, Jo Warrick, whose command of both tone and tempo elevated Black Coffee far beyond the ordinary drawing-room mystery. Her direction was a masterclass in precision and playfulness — gestures, glances, pauses, all felt painstakingly considered yet utterly natural. The pace was sharp, and yet she let the dialogue breathe which served to draw the audience in and created tangible tension. Jo enabled her actors to perform to the best of their ability and drew out some characterisations that truly shimmered with personality. Most impressively, she balanced the suspense with an appealing sense of comic physicality, allowing the actors to find laughter in the absurdity of suspicion while never compromising the mystery’s integrity. It was a rare and wonderful feat — direction that makes Christie’s world feel both lovingly preserved and freshly alive.

Under Jo’s expert guidance, the production found its steady centre in the figure of Hercule Poirot — brought to life with admirable restraint and nuance by Julian Warrick. His was not a flamboyant or overly mannered Poirot, but one of quiet intelligence and poised control. It was a finely calibrated performance: his fiery moments were carefully measured, his discrete looks and loaded glances revealed a mind always two steps ahead. He listened intently, observed constantly, and conveyed his deductions not through grand gestures but through the tiniest tilt of the head or the faintest twitch of a smile. There was a calm intimidation in his stillness, a sense that nothing escaped those sharp eyes. Clearly, Julian had worked hard on perfecting Poirot’s Belgian accent, and the result was authentic if a little understated, a suggestion rather than an affectation, but this allowed his crisp diction to shine through. Julain’s portrayal of Poirot was deeply thoughtful and perceptive, rich in subtlety and grounded in respect for Christie’s beloved detective.

Balancing Poirot’s composure and meticulousness was the ever-charming presence of Captain Hastings, played here with warmth and an easy comic touch by Matt Brown. His rapport with Poirot was instantly engaging; their exchanges were well-paced, full of affectionate exasperation and genuine camaraderie. Matt can play this type of character effortlessly and leant into Hastings’ quintessential British buffoonery with just the right amount of silliness, his clipped, ‘posh’ accent and earnest manner was clearly appreciated by the audience. It was a gentle, good-humoured characterisation that brought a welcome lightness to the darker turns of the story.

The production found its emotional core in the excellent performance of Megan Davies in the role of the troubled Lucia Amory. Megan was an entirely natural presence on stage, commanding attention without ever appearing to seek it. Every detail of her performance felt truthful — the subtle play of expression across her face, the quick lift of an eyebrow, the carefully measured pauses that revealed as much as her words concealed. There was a simmering agitation beneath her composure, a sense of inner conflict that never slipped into melodrama. The prolonged scene between Poirot and Lucia in the second part of Act Two was a highlight — beautifully judged and utterly compelling. The tension built with exquisite precision as the two actors held the audience in silence, Jo directing the scene to be played with the pair physically distant yet emotionally exposed which created a powerful charge: taut, emotive, and quietly devastating.

In contrast, Callum Forman portraying Richard Amory offered a cool, collected presence — aloof and emotionally restrained in the play’s opening scenes. This initial detachment served him well as the story unfolded, allowing his flashes of anger and fear later on to land with real impact. There is a reassuring sense that the audience is in safe hands when Callum is on stage and he always plays his parts with confidence and polish. Often cast in the role of the ‘romantic lead’ or ‘heroic suitor’, he never fails to ooze with charm and panache, but it would be lovely to see him get the opportunity to demonstrate how versatile he could be with other types of characters.

The production’s comic heart, meanwhile, was embodied in the brilliant performance of Andrea Townshend as Aunt Caroline. Wonderfully dotty and often befuddled, she commanded the stage with exuberance and impeccable timing. Her brisk delivery, paired with sharp diction, ensured every line landed perfectly, while her flair for physical comedy added an extra layer of amusement — particularly in the unforgettable moment when she replayed the murder scene in her head. Even in her more emotional moments, her tears felt entirely natural, making her an amazingly vivid and memorable presence.

Equally compelling in the realms of comedy was Rachel Rowett playing Barbara “Babs” Amory, who was quite possibly my favourite character in the play. Sassy, sharp, and delightfully playful, she effortlessly glided through the proceedings with her witty one-liners, each delivered with punch and perfect comic timing. Her performance was hearty and forthright, yet tempered by an easy, suave delivery that made her humour feel natural rather than forced. Rachel brought Babs to life with skill and dexterity, making her a sparkly and vivacious presence whom the audience loved to laugh with.

After a 12-year hiatus from the stage, Danny Chester playing Dr. Carelli made a triumphant return, what a joy it was to see him treading the boards again. He brought a lovely, infectious energy to every scene and his Italian accent was superb — crisp, natural, and never overdone. His expressive face conveyed thought and emotion with ease, and he maintained his accent impressively even during his longer, intense scene with Poirot, where both actors could easily have veered into each other’s vernacular. It was a top-notch performance, and I can only hope we’ll be seeing him in many more productions to come.

Glen Barker tackled two characters, Sir Claud Amory and Inspector Japp, and did great justice to both. As Sir Claud, he made an immediate impact, setting up the story with authority and blunt manner, I particularly liked his measured yet convincingly aggressive outburst. As Japp, he was genuinely funny, capturing the archetypal bumbling police detective with a likeable Cockney accent and warmth that lit up the stage. I wasn’t entirely sold on the dual casting, but Glen’s contrasting portrayals meant it didn’t jar too much. To be fair, it was probably a decision that came out of the lack of actors available.   

Rounding out the main cast was Josh Harwood playing the secretary, Edward Raynor, and his performance was competent and reliably steady. His American accent was convincing, and he maintained a focused characterisation throughout, delivering his lines confidently and remaining consistently in role. While his presence didn’t draw the eye as much as some of his fellow actors, he provided a dependable backbone to the ensemble, quietly keeping the machinery of the play running smoothly.

Finally, Jonathan Fovargue, Laura Griffin, and Joe Cridland provided strong support in the roles of the butler, the doctor, and the detective constable. Each brought a clear sense of character and fitted seamlessly into the cast, complementing the larger performances around them. Their steady, reliable presence helped maintain the rhythm and energy of the production, ensuring that even the smaller roles felt purposeful and engaging.

The set and set dressing were simply incredible, full of charm and meticulous detail. The production team made brilliant use of the theatre’s back brick wall, creating the illusion of a walled garden through the French doors, while bookcases brimming with books and ornaments added authenticity to the library. Lovely touches like the stuffed pheasant, wireless radio, library steps, and green-shaded desk lamp made the space feel lived-in and rich. The construction was solid and thoughtfully arranged, though the effect was slightly diminished by the large black expanse of stage floor, only partially covered by two rugs, which is often the case at Blackfriars and something which is probably unavoidable due to restrictions around being able to paint the stage.

Lighting was used effectively to create mood and subtly heighten the tension throughout the production, in particular the way the chandelier was employed to cast both warmth and drama across the stage. The sound effects were well judged, and the incidental music excellent, perfectly underscoring key moments and enhancing the atmosphere without ever overwhelming the action. On the whole, the costumes were well-thought out and characterful: Barbara’s daywear, with its floaty culottes and paisley blouse, captured her vivacious personality, while Poirot’s pristine grey suit, spats, crisply folded white handkerchief in the pocket, and tussie-mussie on his lapel were a model of fastidious attention to detail, reflecting the detective’s fastidious nature.

In conclusion, this production of Black Coffee was a triumph on so many levels. Congratulations are due to Jo, the director, for her masterful vision; to Laura Griffin, the producer, for helping to bring the project to life; and to the entire cast and crew for their dedication, energy, and artistry. Boston Playgoers has always strived for excellence, and this is an example of one of their very best efforts — a production that delighted, entertained, and kept Christie’s signature suspense and wit alive with flair and precision. Thank you.

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