Sleuth

It’s very difficult to review Sleuth without introducing “spoilers”, something I would prefer to avoid, since the web version of this might be read by some of the few people who don’t know the plot - probably those who were too young for the heyday of the 1970s production in the West End.  At the heart of the play, there is a huge coup de théâtre.  This was handled brilliantly by the Chesil production; the tension built, it was obvious that something was going to happen, but for anyone seeing the show for the first time, when it came it was breath-catching.  Even for those of us who knew what was coming, the execution was superb.

The play takes place in the Wiltshire home of Andrew Wyke (Peter Andrews).  Wyke is a writer of detective fiction - the traditional whodunnit, celebrating the gifted amateur - and a man with skeletons in his closet.  He is an obsessive player of games and puzzles and the whole set reflects this aspect of his personality with game playing paraphernalia and automata everywhere.  It was a wonderful set (designed by Peter Liddiard).  For a start, there was a staircase and landing with a practical window and practical door.  Beneath that a corridor, concealing the position of the supposed front door of the house.  There were bookcases, shelves, ornaments, a wood-burning stove and games of all sort occupying the walls, shelves and parts of the floor.  And the set needs to be that detailed.  It needs to look realistic; there are many things specifically used in the plot and some of them need to be concealed.  At one point part of the set gets wrecked.  There are no half measures in this: any stinting would break the suspension of disbelief and remind the audience that they were watching a play.

Wyke has invited Milo Tindle to the house.  Tindle (Simon Irwin) is having an affair with Wyke’s wife.  Wyke knows this, and knows that his wife is about to leave him.  What follows is another of Wyke’s games: a psychological game of manipulation and intimidation.  This places tremendous demands on the actors.  There’s a large emotional range as they play out the twists and turns of the plot.  There are considerable vocal demands with accents and styles of speech with, for example, Wyke going through various illustrative voices, then producing a Churchill impression.  Then there’s the physical, ranging from slapstick through to some serious falling.  This was all beautifully handled with the credibility of the complex characters maintained throughout.

It was a privilege to see this production.

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