Written By
Agatha Christie
Presented by arrangement with Concord Theatricals Ltd. on behalf of Samuel French Ltd.
Where and When
Thursday 14th – Saturday 16th May 2026
Evenings 7.30pm + Saturday Matinee 2.30pm
Ticket Info
Online Ticket £20.35 eve / £18.15 Matinee (includes £1.85/£1 .65 online booking fee)
Box Office Ticket £18.50 eve / £16.50 Matinee
1 in 10 free all performances (available via Box Office only)
The Plot
Ten people arrive at an isolated house on Soldier Island, just off the Devon coast. Two servants and eight guests, including a South African millionaire, a Judge and a retired General. It all seems idyllic apart from the fact that their hosts haven’t arrived yet. They start to get settled in for the weekend when suddenly a disembodied voice addresses each of them by name and accuses them of the murder of a named individual. There is no phone on the island and no means of escape. Then people start dying. A thunderstorm adds to the tension. Is there a killer loose on the island or is something more sinister going on? Will any of them survive?
Cast
- Fred Narracott – Cameron Elliott
- Rogers – Colin Pile
- Mrs Rogers – Shelly Barter
- Vera Claythorne – Sali Pike
- Philip Lombard – Andy Gill
- Anthony Marston – James Turrall
- William Blore – Tony Feltham
- General Mackenzie – Michael Mackey
- Emily Brent – Judy Garrett
- Sir Lawrence Wargrave – Stuart Glossop
- Dr Armstrong – Richard Scotson
Creative Team
- Director – Chris Durham
- Stage Manager – Tracey Nicholls
- Properties ASMs – Dee Hawes, Kira Bradford, Charlie Cash and Cameron Elliott
- Costume Supervisor – Julie Sissons
- Prompt – David Beddard-Banks
- Set Design – Chris Durham
- Set Build Lead – Colin Pile
- Sound – Nick Clark
- Sound Assistant – Boo Feltham
- Backstage Assistant – Anthony Cutler
- Publicity and Programme – Boo and Tony Feltham
- Photography – Steve Purdy and Martin Fleming
For The Tivoli
- Production Manager – Josh Brindley
- Lighting – Chandler Whitelock
Gallery
Reviews
Dorset View – Marilyn Barber
Decide your next production will be an Agatha Christie play, cast 11 talented actors and build an impressive stage set and you’re onto a winner – and this production certainly is.
Although most of the audience clearly knew the story – and the title is a bit of a giveaway – there is a choice of endings. Which one would director Chris Durham choose? I am not giving it away.
Ten strangers arrive on an isolated island off the coast of Devon, each of whom hides a secret past which is revealed by a disembodied voice. Death stalks every one of them, except the boatman played by Cameron Elliott.
Colin Pile and Michelle Barter, no strangers to local stages, team well together as the butler and housekeeper, whilst James Turrall epitomises the wealthy reckless young playboy, Anthony Marston. As soldier of fortune Captain Philip Lombard, Andy Gill interacts well with the other characters, particularly Sali Pike as the secretary Vera Claythorne, both putting in very authentic performances.
A member of the company since 1984, Tony Feltham has the knack of bringing a special something to every performance, and this he does in the role of a corrupt police officer, going from a South African to London accent with consummate skill.
Michael Mackey has to run through a gamut of emotions as retired war hero General Mackenzie, as does Richard Scotman as Dr Armstrong. Both succeed admirably.
Judy Garrett is another actress who never disappoints, and she is perfect as the judgmental spinster.
The role of retired judge Sir Lawrence Wargrave gives Stuart Glossop the chance to display his impressive talent, dominating the action with his imperious character.
This is such an enjoyable production, and if you want to be immersed in a splendid play performed by one of the best local amateur groups, try to get a ticket.
K. D. Johnson – Scene One Plus
To read the synopsis in advance of watching the performance or not? That is the question. Some people are well acquainted with this story by the erstwhile “Queen of Crime”, Agatha Christie, but I am not. I have decided against knowing what is going to happen and so I start the evening mostly in the dark. I know that I am in the safe hands of the usually excellent Wimborne Drama Productions and let them bring it on.
As the curtains open there is scarcely a spare seat to be had in the auditorium – which is good news both for the Tivoli and for the company. The curtains open to reveal a more-or-less standard 1930s drawing room set – French window at the back, doors left and right and an exit to other rooms upstage left. The French window opens onto a balcony beyond which is a clifftop cove – distant gulls calling. There are 4 chairs and a sofa and the ubiquitous cocktail cabinet. I like the period fireplace with its decorated tiles. Above the fireplace, on the mantelpiece, are a row of 10 model soldiers. Hmmm!
The cast come in and we get to know them as they introduce themselves to each other. Some of their characters are instantly dislikeable – James Turrall plays Anthony Marsden, who drives his car at a furious speed and has almost driven Dr. Armstrong, played by Richard Scotson, into a ditch on his way here. Captain Lombard (Andy Gill) is arrogant and smarmy, and I am unconvinced by the South African accent initially used by Tony Feltham – although this is excusable in light of what we subsequently discover about his character. Innocuous and surely quite harmless (or are they?) are Colin Pile and Michelle Barter as Mr and Mrs Rogers. We can’t wait for the pious and dislikeable Emily Brent (Judy Garrett) to come to a sticky end but Justice Sir Lawrence Wargrave, played by the always excellent Stuart Glossop, and Vera Claythorne (Sali Pike) seem quite reasonable. That makes nine – there must be one missing – oh yes, Michael Mackey makes a suitably silly old duffer as General Mackenzie (although he is almost inaudible at times). The casting is excellent; the characters are there, now Dame Agatha’s Country House Mystery Cookbook just says “add ingredients and stir” – and that is what she does.
That’s about as far as I can go without revealing the plot. There are mysterious, recorded accusations from off-stage (rather disappointingly played through the front-of-house speakers). There are some rather better sound effects of a storm, which come from backstage speakers. There are some real gunshots [Warning] – complete with “smellovision” – it is surprising how that carries. The candles, used in the night-time scenes, are really effective (I would like to know where they sourced those from). There are some excellent dialogues between Vera and the Captain, Lombard and Blore, Vera and Emily; great character acting from all involved.
Technically, there are some issues with the lighting of the chairs at downstage left and right, which I understand can be difficult – but Dr. Armstrong’s agitated outbursts are delivered from semi-darkness.
I am peeved, as ever, by the creeping Americanisation of British scripts – I doubt that an English doctor of the 1930s would use the word “autopsy” rather than “post mortem”, nor do I think that anyone would say that the absent Mrs. Owen “wrote me” – these have all been introduced to pamper to an American audience who, apparently, don’t understand proper English (or Latin).
Anyway, to climb down from my platform of pedantry, this is an excellent show by an enthusiastic and talented ensemble. Congratulations are due to Director, Chris Durham, his team, and to the cast. I recommend that you go and see it.
Programme
