Farmers Alley Theatre recently opened its production of Dial M for Murder. WMUK’s Gordon Bolar has this review.
In anticipating a new adaptation of “Dial M for Murder” on stage, I spent some time thinking about what elements are needed to create compelling suspense in the theatre.
And by suspense, I mean action that holds you in an excited state for two one-hour acts. I’m talking about that titillating sensation of uncertainty when you reach the point of questioning human nature; at least the very nature of the characters in front of you, and perhaps even your own good judgement.
Well, I am pleased to report that the preview of the Farmers Alley production I saw last Thursday evening, under the capable direction of D. Terry Williams, has every element necessary for a suspenseful and enjoyable evening in the theatre.
The first suspenseful element that this recently updated seventy-year-old Hitchcock thriller has to offer is the script itself. Jeffrey Hatcher’s version for the stage is less talky, contains more present tense action, and is more story-forward in its structure than the film. We consistently wonder who will do what next. Though Hatcher keeps the setting in the 1950’s London flat of Tony Wendice and his wealthy, socialite wife Margot, some significant changes have been made.
One that makes this show seem fresh, smart, and better able to speak to present day sensibilities can be found in the character of Margot’s secret lover. Instead of the heterosexual affair in the Hitchcock film script, playwright Hatcher’s paramour for Margot is another woman, Maxine, an American mystery writer.
Maxine’s insights on motives and means for murder from her own books help provide an empowered female perspective on the events that result in the dead body on Tony and Margot’s living room floor. And it seems that details of Maxine’s salacious letter to her lesbian lover weigh heavily in the guilty verdict that sentences Margot to the gallows for murder.
John Gromada’s crafted sound design provides another formula for suspense. As Lesgate, hired by Tony to kill Margot, lurks in living room shadows, we hear Maxine, live on a BBC radio interview broadcast, at low volume in the background, calmly discussing her latest murder mystery. Add hushed dialogue as counterpoint in the darkness between Margot and her assailant. Throw in muffled cries from struggle, top with ringing phone, and punctuate with thunder clap. That’s a recipe for the disturbing soundscape of a world being ripped apart. This kind of multi-level audio layering is wonderfully evocative of another suspenseful Hitchcock thriller, Rear Window.
Also helping to create suspense in this production is the attention to detail in Savannah Draper’s meticulous prop design, and the cup-and-saucer realism on stage. Part of the show’s grip on its audience comes from the visibility and proximity of the action. When sharp objects are left in plain view, and blackmail letters are held up for close inspection, we all become detectives.
We’re pulled in by Dan Guyette’s tasteful, uncluttered, in-the-round set design. Every action, including attempted murder, is carried out in full view, not backstage behind a flat. No slight-of- hand. After all, this play isn’t a “who done it?” It’s a “how exactly will he get away with it?”
The most crucial element in generating suspense for “Dial M for Murder” is a cast that is on top of the show’s constantly evolving plot, quick changes in motive, and struggles for the upper hand. Jeremy Koch’s opportunistic Tony is properly attuned to the reversals and false leads of the ongoing police investigation. Koch projects a confident character, a master improvisor of the tactical changes needed to achieve his goal of collecting Margot’s money after her demise.
Kate Thomsen, as Margot, successfully balances a secretive same-sex relationship, while maintaining her superficial marriage with a man she clearly no longer loves. Thomsen portrays the publicly acceptable side of each of these two relationships. She convincingly pretends to be “best friends” with Maxine, as she goes through the motions of a loveless marriage and dispassionate “mwah” kisses to Tony’s cheek.
Alone together at end of Act I, Tony and Margo have a glimpse into each other’s soul, despite their heretofore mutual masquerade. After a failed murder attempt, Tony queries Margot about the man she does not know he hired. Tony: “Did he say anything?” Margot: “No.” As this lie concludes the gripping scene, it’s now presumably game-on for both.
Hit man, Lesgate, played in an initially reserved manner by Michael P. Martin, reveals surprising sides to his shady character, including a double dealer who would rat out the man who paid him.
Tina el Gamal, as Maxine, brings backbone to her role as she doggedly pursues any explanation proving Margot’s innocence. Her plucky American is a welcome contrast to stodgy British male characters who mask their capability for violence behind the veneer of civilized behavior.
Finally, Atis Klinebergs’ disarmingly cheerful Inspector Hubbard, assembles the clues and draws conclusions. His vocally animated character sets a clever trap that masks his intentions, holds suspense till the end, and opens the door for justice to be served.
