Written by Agatha Christie
Adapted by Rachel Wagstaff
Artistic Direction by Fiona Main
Review by Hunter King
Threepenny Theatricals performed Agatha Christie’s The Mirror Crack’d this weekend at the Church Hill Theatre, marking their second production of the year, following their May production of Lord Arthur Savile’s Crime. After a guest is apparently poisoned at a party, many fingers are pointed as all partygoers had the motive and the opportunity to murder the movie star, Marina Gregg (Fiona Main). In a classic Christie twist, the would-be murder victim is seemingly mistakenly saved by a faux pas and a spilt strawberry daiquiri. Perhaps Christie’s second most famous mystery solver (behind a moustachioed Belgian), Miss Jane Marple (Mairi Coyle) is determined to solve the case, despite having a sprained ankle from a fall.
Rachel Wagstaff’s adaptation of Christie’s story is overall suited for the stage, but does have some moments of awkwardness as the story moves back and forth at a lightning pace between the past events and current reality for the characters. In a moment that showcases Gordon Hughes’ lighting design, the show begins with a ghostly ensemble seemingly stuck behind a mirror and trying to break free, immediately juxtaposed with Coyle’s Marple confined to a chair and needing help to do anything other than sit there and knit.
Coyle plays Marple brilliantly with a sense of empathy for those around her and excellent comic timing. She manages to bring a believability and sense of realism to the character that is mirrored in many of the performances in the production. Simon Boothroyd plays the newly promoted Chief Inspector Dermot Craddock with bravado and a more slapstick style than one might expect from a Christie play. This portrayal is welcomed, as Boothroyd commands attention through his physicality and competent incompetence.
Fiona Main serves as both the artistic director for the production as well as playing the graciously ageing starlet, Marina Gregg. Main brings the exact energy that is needed for the character, often channelling Gloria Swanson’s famous performance in Sunset Boulevard. The melodrama that she brings to the stage is fitting for this Hollywood diva and captivates audiences both within Christie’s world and Church Hill’s auditorium.
The cast is rounded out with mostly very solid performances. Stand-out performers included Elspeth Whyte as the gossipy, yet hilarious, Dolly Bantry and Russell Loten as the continually silenced Cyril Leigh. Loten managed to score some of the biggest laughs of the night, despite having possibly the fewest lines. Another performance of note is Rebekah Lansley’s Lola Brewster, with one of the most convincing American accents I have heard in Edinburgh. While a few others of the cast felt at times rigid and somewhat out of place with overacted performances, the ensemble as a whole was convincing and capable.
Fiona Main and Alastair Delaney’s set served as a fantastic and dynamic piece that managed to cover the many rooms that Christie’s story takes place in while providing differentiation from room to room. Unfortunately, noisy set changes that happened mid-scene does distract from the production in some moments. Main and Liz Landsman’s props were a mixed bag throughout the production. Some props, such as a beautiful decanter and a lifelike film camera, were convincing while others, namely a clearly plastic knife and a cardboard box painted to look like a stage light, were less so.
Neil French’s sound design left something to be desired, with no sound within scenes outside of basic effects. The effect volume was semi-inconsistent, including loud door creaks and kettles and a quiet gunshot. The music between scenes, however, was fitting for the production if not a tad too quiet. Meanwhile, Gordon Hughes’ lighting design was spot on for the show, maintaining a simple yet effective approach.
The production is well put together, and while suffering slightly from a script with strange pacing and lots of time jumps, and a scene that seemed to gloss over the topic of self-harm without much tact, it was an enjoyable night at the theatre with a twist ending that, while over-explained, closed the case in a satisfying manner.
An Enjoyable Night
The Mirror Crack’d was performed at The Churchill Theatre
Running time: Two hours and forty minutes with one interval
Review by Hunter King (contact@corrblimey.uk)
Hunter is a 2024 Master’s graduate of the University of Edinburgh and current doctoral candidate with a thesis focused on experimental theatre in Edinburgh. He has been a theatre practitioner for over a decade having worked in many capacities including as a director, actor, stage manager, front of house manager, and technician as well as others. Prior to moving to Edinburgh, Hunter was a high school English teacher in the United States. His passion for the written word as well as his passion for live performance are what motivated him to become a writer for this publication.
