MTP Bring Agatha Christie Murders to Life
Greg Wilson/Anderson Observer
The Mill Town Players took on the ambitious stage adaptation of Agatha Christie’s most famous work “And Then There Were None,” and one might be inclined to say they killed it.
Strong performances and direction along with a spectacular set and lighting had theatergoers on the edge of their seat and actually resounding to the end of the first and second acts, as well as a couple scenes, with a collective expression of audible wonderment.
The plot revolves around 10 people, mostly strangers, invited to Soldier Island off the south coast of England by a mysterious host just before the outbreak of the second world war. Without a boat or telephone, each is reminded of murderous sins they have committed by the playing of a Gramophone record in the first act. This sets off the story, as each member of the party is killed off one by one in accordance with the children’s nursery rhyme “Ten Little Soldier Boys.”
The staging and look of the play are what one has become accustomed to at MTP, which is to say mostly unrivaled this side of the Great White Way. Founder Will Ragland’s set design could be used to shoot a film, and Myra Greene’s smooth and tight direction make a large cast in constant movement on stage compelling, avoiding distraction and confusion which often marks such a challenge.
Greene keeps her cast of characters connected, with nothing wasted, and the actors are more than up to the task. From the opening scene. In what could have been forgettable roles, Shane Willimon and Laura Bunn kick off the action as servants Rogers and Mrs. Rogers who know their station in things bringing some a bit of P.G. Wodehouse humor. Both embrace the servant class attitude as they offer the first hint of mystery, and engage the audience quickly, which is key to the longish play to come.
Mike Sokol, as the former working-class police officer, also literally shakes things up early, and continues this fine on-the-edge performance even as the play grows darker to find nuggets of humor in the character.
Lynn Campbell as the brutally self-righteous Emily Brent, almost steals every scene in which she participates. Campbell’s performance is perfectly sour, and her resemblance to the British actress Maggie Smith, intentional or not, adds to her near-perfect performance as the bitter old spinster.
There is not a weak link in this cast. Asia Hopwood’s emotional secretary Vera Claythorne, goes from flirty to freaked out in fine fashion as the story progresses, her final scene in the play might be one of the most harrowing visuals in recent local theater history. Her personal terror mirrors that of the situation and the island itself as the play progresses.
Westin Edwards finds the perfect irritating pitch for his adventurer/mercenary Philip Lombard, who is both brash and one who forces often black and awkward humor until almost the very end. It can be a challenge to tackle a role where you are not quite a villain or a hero who can be more than a little nerve wrecking, but Edwards is up to the challenge.
The twitchy, nervous tics of Dr. Armstrong are captured well by Todd Janssen. He’s a bit like Nathan Thurm, Martin Short’s fidgety lawyer, and stalks the stage (or squirms in his seat) like Niles Crane on Adderall. Janssen makes everyone uncomfortable, ironic for a man famous as the “nerve doctor,” who has a heart, even if it is one that runs at 200 beats per minute.
Anthony Marston, the story’s character most would like to slap, is preened to scarf-flipping perfection by Brandon Ledford. Ledford dives into the shallow cluelessness of the role, and few in the story are sorry to see him as the first to fall victim to murder.
Mill Town Players favorite and always fun as an old-timer Rod McClendon, injects a sleepy and perhaps supernatural element to his role as Gen. MacKenzie, who seems lost from almost the beginning and drifts even farther from the mooring as he claims to see his long-dead wife. He manages a genial charm in a role that could easily have been a cliche.
And I have known a long bench full of judges in my life, and Paul Noga oozes their vibe from his introduction in the first act as (Judge) Sir Lawrence Wargrave. He is both stern and, in a way so many judges’ posture – positions himself as the wise arbiter, a bit of aloof know it all and the guardian of common sense and keeping the others calm in the middle of calamity, making his transformation in the final act powerful.
Finally, Cameron Woodson, who also serves as MTP assistant artistic director, brings some life to his sailor/delivery man role Fred Narracott. He is every red-bearded naval character you want to see, part groundskeeper Willie and part Patch the Pirate (“Are you ready kids?” Woodson was).
The play wastes little time inviting the audience to choose the killer. But as in all of Christie’s work, everyone is a good suspect and deceit, lies, secrets and misdirection lurk around every corner. As suspects drop one by one, there are false clues, visual misdirections and sleight of hand action to cast suspicion and doubt on all.
The dialog performances are worthy of the mystery writer’s pen, especially early as the focus is on acquainting us with all of our suspects and setting up the character dynamics, and is captivating in the hands of this cast. The sometimes long monologues find their mark. And the bold decision to use the novel’s darker ending, the movie version from wartime 1945 was changed to bring a happier conclusion, was brave. Let’s hope local theater audiences appreciate it, because it is worthy of that appreciation.
If you are a fan of Agatha Christie or any of the BBC detective shows, you are not likely to find a more enjoyable and satisfying production than MTP’s “And Then There Were None.”
Shows continue through March 2. Tickets here.
