Murdered to Death

On entering the auditorium, we were greeted by the usual well-decorated open set that we have come to expect from this talented and committed Company. This is a wide space and the group had wisely brought in the “wings” a tad on either side, but still leaving plenty of room for all the action, and space to get around the furniture!

For this production we were treated to a “timeless” set depicting the drawing-room of a slightly shabby stately home. The customary sofa, armchairs and side-tables, walls covered in various works of art, set the scene for murder and mayhem in typical “Agatha Christie” style, the usual suspects abounded with “red herrings” a plenty, and what a treat it was!

Mildred is the rather irritating matriarch of the house and is expecting a small party of guests for the weekend, one being her long-standing secret “paramour”! She is attended by Bunting her rather irreverent butler, and her young companion Dorothy, who when her parents died in tragic circumstances she kindly took under her wing. It is the self-effacing, forever grateful Dorothy who keeps the house running smoothly.

The guests assemble for the weekend, and we are introduced to the crusty Colonel Craddock, and his exceedingly acerbic wife Margaret, together with the patronising Elizabeth Hartley-Trumpington and the smooth Frenchman Pierre Marceau, the pair hoping to persuade Mildred to invest in some more artwork – but is everyone really who they appear to be?

Into this mix arrives Miss Maple, the dear congenial elderly spinster neighbour, who manages to inveigle herself into the party, and in true “Chrisite” fashion throws her “four pennyworth” into the situation!

When Mildred is quickly “dispatched” early in the proceedings, her murder sees the arrival of Inspector Pratt of the Yard – a temporary promotion – and his “sidekick” PC Thompkins, and what a duo they were!

Inspector Pratt certainly lived up to his name, including a well-executed “pratfall”, and was very well supported both metaphorically and physically by the young Constable, who obviously had the keener brain, making for some brilliantly funny exchanges, and all very well played.

All the characters in this piece did exceptionally well, particularly considering the difficult rehearsal period in the run-up to the production – at times outside in the carpark in the rain!

 

Colonel Craddock was suitably snobbish and xenophobic, mistakenly believing he had concealed his affair with Mildred from his wife – no chance, breezing through the piece  

with an air of distain for everyone in her wake, Margaret most definitely knew what was what.

Bunting was bumbling and resentful, his regular entrances upstage with various kitchen accoutrements bringing great amusement to the audience but hiding the real purpose of his presence in the house.

Dorothy was just right, seemingly charming, quiet and acquiescent but with a steely reserve underneath when required, it was a shame she had to be “bumped off” as well, and Mildred made the most of her scenes before her early demise!

The young couple revealed their true characters in Act II, and switched seamlessly from French entrepreneur, and Cheltenham Ladies’ Gal, to “wide-boy” con-artist, and his “moll” as the action dictated, neatly played.

Miss Maple was a revelation, the crimplene dress and set hair-do were spot on, and her mannerisms and delivery a perfect study for Joan Hickson. Her sudden tongue-twisting denouement speech, given in true Agatha Christie style, supposedly disclosing the perpetrator was hilarious.

As usual with HCTC the production had a true “Company” feel, with a lot of thought, hard work, and preparation, including the set, props and costumes, making for a consummate piece.

This was a great choice to return with and was very warmly received by the first-night audience.

“The thick certainly plottened!” Well done!

 

 

 

Any observation made by the reviewer can only be based on what they see at the performance in question.  The reviewer may have received information in advance of the performance, and it is inevitable that their assessment will be affected by that knowledge.

The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in particular the performance viewed.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances and are only made to encourage higher standards in Amateur Theatre.

It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

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