The Mirror Crack'd

Originally published in 1962, The Mirror Crack’d  is one of the later Miss Marple mysteries in the Agatha Christie canon. This stage adaptation is from somewhat later. The plot centres on a seemingly motiveless murder in a large country house, Gossington Hall, new home of Hollywood star and legend Marina Gregg, played with elegance and compassion by Fiona Jones. Marina is returning to the big screen after a lengthy break following her traumatic experience of measles during her pregnancy, and the unfortunate effect on the birth of her son. Her subsequent breakdown and her film director husband Jason’s efforts to help, belligerently but caringly portrayed by Laurence Hill.

The Hall was also the former home of Dotty Bantry, who has moved into a smaller property after the death of her husband. Dotty is Miss Marple’s close friend, an appealing character in her own right and engagingly portrayed by Julie Hope. Hayley Moy is excellent as Miss Marple, her subtle and rapidly changing facial expressions and pauses, suggestive of a tireless brain as she works to solve the puzzle from her armchair. She is unable to walk after injuring her ankle, and is looked after by her helper; the ditzy Cherry Baker, comedically played by Fraire Armstrong, and learns much crucial detail from the faithful Dotty.  She is visited by Chief Inspector Craddock, nicely played by Alex Swann and between them they eventually iron out all of the twists and wrinkles of the complicated plot, up to the final revelation by Jane Marple as she delivers the identity of the culprit.

The main principal lineup was strongly supported by victim Heather Leigh (Abi Ross-Jackson), her thwarted husband Cyril (Trevor Bell), secretary Ella Zielinsky (Jess Watson), manservant Guiseppe Renza (Simon Dowling) and a superb performance by Brooke Milburn in the role of actress Lola Brewster.

Whodunnits are notoriously difficult to stage. The directors Ali Broughton and Ann Leake successfully employed an elevated upstage area, individually lit, to use for the inset filming scenes and the throwbacks when various possible motives and explanatory scenarios which were played out and replayed several times. The stage crew led by Richard Hay were instrumental in keeping the action going with three scenes in each act and excellent lighting and sound from Tony Hall and James Elliott also added to the success of the production, which, although it had many good points, for me the slick rather than engaging result left a little something to be desired. In my estimation, however, this had more to do with the essence of the plot rather than the production, which was excellent.

Many congratulations to the very strong cast and creatives for the success of the play. I have to say I didn’t get it… no spoilers here!.

Thanks from me and Councillor Peter for the invitation. We enjoyed our visit.

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