A well-structured revival of a Christie classic. There are points where it’s not quite as gripping as it could be, but it’s certainly never boring. Rating
Excellent
New Stagers are surely one of the most consistent amateur theatre groups out there, tearing through four productions a year for over half a century. Their latest revival sees Sam Swaffield preside over one of Agatha Christie’s most famous thrillers.
And Then there Were None focuses on eight troubled strangers. They are each invited to a remote island as the guests of U.N. Owen (yes that’s right: ‘Unknown’!), an apparent mutual friend. They are received by the butler and housekeeper, a married couple who have also never met Owen. The butler has been instructed by his mysterious employer to play a gramophone record. To everyone’s shock, it is not music that comes out but a voice listing a series of unsolved crimes committed by each of the ten people gathered in the living room.
In the confusion of the first act, there are three standout performers. Shaun Murray is erratic and unpredictable in the best possible way. He’s introduced to us as an over-friendly South African millionaire, but he ensures his role is much more than simple comic relief. Kate Horobin’s transitions from nervousness to false brashness to complete paranoia are very well executed. Finally, Joseph Docherty is delightful to watch as Anthony Marston, a young man so despicable he’s just begging for a comeuppance. Marston, appropriately enough for a show in Wimbledon, looks like he’s dressed for Centre Court. We immediately hate him for it. The costumes (Lily Frost) give us a clear impression of each character before they’re even properly introduced.
One by one, the visitors are murdered in accordance with a nursery rhyme: Ten Little Soldier Boys. But is U.N. Owen hiding amongst them, and can the remaining guests stop the killing spree?
Directing this show gives one a dilemma. Do you lean into the inherent cheesiness of the murder mystery genre or do you bow to Agatha Christie, whose plot twists and mind games have certainly stood the test of time. I don’t know if Swaffield fully decides. This means that some scenes are brilliant, whilst others miss opportunities to take creative initiative. A few of the early onstage deaths would benefit from being either deliberately overacted or more sudden and shocking. As it is, they are often somewhere in between.
The final act, though, is terrific. The remaining performers gel to great effect as the twisted game unravels. When we are down to the final three, each character is unsure who is their closest ally and who wants them dead (R.I.P. Agatha Christie, you would have loved Celebrity Traitors). To New Stagers’ great credit, the terror can be felt throughout the space. In his programme notes, Swaffield says he hopes ‘that this play gives thrilling texture to an otherwise innocuous Tuesday’. It certainly does. For when all’s said and done, there’s nothing quite like murder to bring us all together is there?
Written by Agatha Christie
Directed by Sam Swaffield
Produced by Nellie Gawne
Stage Manager: Tom Parker
Lighting Design by Rich Allport
Costumes by Lily Frost
And Then There Were None is playing in the Studio at the New Wimbledon Theatre until Saturday 31 October.
