Dial M For Murder

Stage Two Downham’s production of Frederick Knott’s Dial M For Murder was a taut and stylish thriller that kept its audience gripped from start to finish. This classic play, first staged in the early 1950s and later immortalised by Alfred Hitchcock’s film adaptation, is still a masterclass in suspense and psychological intrigue. The Downham team approached it with care and confidence, ensuring that the tension never faltered and the atmosphere was sustained throughout the evening.

Dial M For Murder follows Tony Wendice, a retired tennis player who plots to have his wife Margot killed so he can inherit her fortune. When the plan goes wrong and his hired accomplice is killed instead, Tony frames Margot for murder. Inspector Hubbard gradually unravels the deception, leading to a tense climax where Tony’s scheme is exposed.

The direction by Jacqui Shepherd and Richard Hubbard was precise and assured. They kept the pace sharp, allowing the story’s twists and turns to unfold naturally without ever dragging or rushing. Their staging choices ensured that every beat of dialogue and movement contributed to the atmosphere of unease, and the cast responded with discipline, hitting their cues with accuracy. Original music by Lucas Bowers introduced both acts, setting the mood and easing the audience back into the suspense.

Technically, the production was impressive. The set design and build, crafted by Warren Seddon, Alex McFall, and Roger Astin, was solid and well‑constructed, with no wobbles as the cast moved fluidly in and out of doors. The stage was convincingly dressed as a London living room, complete with a large, curtained window set into the wall stage left, a central door opening onto a staircase leading to the upper apartments, and a door in the stage right wall giving access to the bedroom. A substantial bar area stood backstage left, while a table and telephone front stage left stood aside a small occasional table holding a sewing box. A settee dominated centre stage, providing the focal point for much of the action.

Props by Jacqui Shepherd grounded the realism of the era. Tennis rackets, trophies, and photographs adorned the wall stage right, while a large coat stand stood between the main door and the bedroom, adding both authenticity and atmosphere. These details helped transport the audience into the world of the play, supporting the drama with subtle touches.

Stage Management by Mel Crook and Darren Moss ensured smooth transitions throughout. Their unobtrusive work, changing the time on the clock and moving items seamlessly, kept the action flowing without distraction, allowing the tension of the play to remain unbroken.

Lighting and sound by Paddy Keane and John Bradshaw were tight and atmospheric, landing exactly right at each dramatic beat. Their precision enhanced the suspense, underscoring moments of unease and amplifying the impact of the play’s twists. Whether it was the subtle dimming of lights to signal a shift in mood or the crisp delivery of sound cues that heightened the drama, their contribution was integral to the production.

The cast brought the story to life with energy and conviction. Chris Bowers delivered an excellent performance as Tony Wendice, never losing focus for a moment. His face remained firmly in character throughout, with subtle eye movements and a sly quirk of the lips that conveyed Tony’s calculating nature. Dialogue was delivered faultlessly, and with such a text‑heavy role, this was a remarkable achievement. It was a commanding portrayal that anchored the production, a compelling central figure to follow.

Jennifer Spurrett was great as Sheila Wendice, charting the character’s journey from composure to frayed nerves as the drama progressed. Her performance balanced vulnerability with resilience, ensuring Sheila was more than just a victim, but a fully realised character whose emotional arc deepened the suspense. She gave the audience someone to empathise with, and her gradual unraveling mirrored the rising tension of the play.

Richard Hubbard gave a convincing turn as Captain Lesgate, his great accent adding menace to the role. He captured the opportunism and desperation of the character, and when the pivotal moment came, his perfectly still presence, once dead, added realism and heightened tension. Lesgate is a character defined by opportunism and moral compromise, and Richard’s portrayal gave the character weight, ensuring his presence was felt throughout his scenes.

Kate Herron took on Inspector Hubbard with authority and clarity. She embodied the inspector’s calm intelligence and persistence, delivering dialogue with measured assurance. She saw through the scheming to ensure justice prevailed.

Alan Herron brought warmth and sincerity to Max Halliday, Margot’s lover, and moral counterpoint to Tony. His American accent was consistent, reinforcing Max’s outsider status and lending authenticity to the role. Alan balanced romantic devotion with quiet determination. His thoughtful delivery gave Max a grounded presence, someone caught between passion and principle, whose concern for Margot was always clear.

The ensemble was rounded out with detail and texture. Ralph Assheton provided a vocal appearance as the BBC news reader, adding realism to the world of the play, while Darren Moss made a brief but effective appearance as Pc Williams. These smaller roles handled with precision, supported the central drama and contributing to the overall atmosphere.

Taken together, Stage Two Downham’s Dial M For Murder was a production that combined strong direction, atmospheric music, meticulous technical work, and committed performances. It captured the essence of Knott’s thriller while adding its own touches of authenticity and style.

It was lovely to be welcomed so warmly by Stage Two Downham, a word of thanks to Kim Croydon for his thoughtful attention throughout. I look forward to many more productions from them in the future.

 

© NODA CIO. All rights reserved.