This new production of
And Then There Were None, directed by Lucy Bailey in collaboration with Fiery Angel, Royal & Derngate, and ROYO, offers another interpretation of the often-told classic Agatha Christie story. Originally published in book form in 1939, the play adaptation saw its original staging in 1943 and tells the tale of ten strangers lured to a remote island under false pretenses. It is, beyond
The Mousetrap, perhaps one of the most recognised, non-Poirot/Miss Marple stories by Christie, due to its having been adapted for the stage and screen several times. So, after over 80 years since its first appearance, can a new adaptation bring something new to an eager theatre and crime audience?
In this new incarnation, perhaps not entirely, although it isn't without trying. The story, as ever, is excellent, perhaps indeed, one of Christie's cleverest and most intricate tales. However, director Lucy Bailey's interpretation here often feels stodgy and lacking in pace. To be fair to it at the outset, the need to introduce so many characters even leaves the masterly work of Christie straining a tad. However even after this set-up is complete, the dynamics between director and actors, and occasionally the set itself, leave gaps in the drama.
The cast also offers a huge mixture of quality. For instance, the rugged and debonair Lombard is played with relish and style by Joseph Beattie, easily catching the eye of the ladies. Well, one lady especially, the superb Sophie Walter as Vera Claythorne, a character thrown into a tight situation as the absent host's secretary, who has to field a multitude of questions from the confused guests. Walter presents the character with charm and the required slinky style of the period and material.
Also, a fabulous and controlled performance comes from David Yelland as Judge Wargrave, quick to take control of the situation and determined to gain a clue here and there of events. Also, the always reliable Andrew Lancel provides some of the limited humour as the "South African" Davies, soon discovered to be someone completely different. The rest of the cast has less impact, often relying on some rather obvious stereotypes of characters.
There are a few staging issues, which include a few problems with Mike Britton's set, which does look the part, but often hinders the play. Things like the curtain, which slinks its way back and forth on occasion, often become sluggish, bunched up, and caught here and there, preventing clear views of the events behind it. Also, unfortunately, the set is slightly lost on the larger stage of Milton Keynes Theatre, leaving some rather obvious blindspots for, in particular one side of the audience.
Having said all this, there is much to admire from the show as without a doubt, even after 80 years, it is an incredibly well-crafted story, full of intrigue and at the very end, a significant shock (despite a very unfortunate sound incident during the performance I saw). It is just a shame that, in this particular production, the telling of that story is not as crisp and smooth as might be hoped.
Despite pacing and staging issues, Christie's classic story still can intrigue.
⭐⭐⭐
Performance reviewed: Tuesday 6th February 2024 at the Milton Keynes Theatre, Milton Keynes.
Production photos: Manuel Harlan
