Written By
Agatha Christie and Gerald Verner
Where and When
21st – 23rd October 2021 @ The Tivoli Theatre, Wimborne
The Plot
When a house party gathers at Gull’s Point, the seaside home of Lady Tressilian, Neville Strange finds himself caught between his old wife Audrey and his new flame Kay. A nail-biting thriller, the play probes the psychology of jealousy in the shadow of a savage and brutal murder. A carefully unpeeled investigation before our eyes brings the story to a pointed ending.
Cast
- Thomas Royde – Tony Feltham
- Kay Strange – Jo Eva Edington
- Mary Aldin – Lindsay McGowan / Michelle Barter *
- Mathew Treves – Chris Durham
- Nevile Strange – Sam Moulton
- Lady Camilla Tressilian – Ann McColgan Clark
- Audrey Strange – Tracey Nicholls
- Ted Latimer – Rob Cording-Cook
- Superintendent Battle – Richard Neal
- Inspector Leach – James Bourner
- PC Benson – David Beddard-Banks
* due to illness the role of Mary Aldin was played by Michelle Barter during the run of the play.
Creative Team
- Director – Paul Dodman
- Stage Manager – Michelle Barter
- Set Realisation – Chris Durham, Colin Pile & Nick Clark
- ASMs and Properties – Judy Garrett, Dee Hawes and Amanda Smith
- Costume Supervisor* – Chrissie Neal
- Book Cover – Jan Stevenson
- Sound – Gary Paine
- Publicity and Programme – Richard Neal
For the Tivoli Theatre
- Technical and Production Manager – Kyle Best
- Head of Sound – Chandler Whitelock
- Lighting Programmer – Kieran Ray
*Costumes supplied by Hierarchy Costumes
Gallery
Reviews
Phil Vivian – Scene One
People who go to the theatre do so for all sorts of reasons: to escape; to confront and deliberate upon social and political issues; to laugh; to be moved; to puzzle over who done it; to be entertained; to support friends (if amateur) or favourite actors (if professional) and more. Some go for all of those reasons while others are more inclined to be dismissive of what doesn’t suit their preferences. I suppose that the plays of Agatha Christie and of others who write within the ‘thriller’ or ‘detective’ genre could be comparable to Marmite but, if that predisposition keeps anyone away from productions such as Wimborne Drama Production’s current offering, they are missing out.
I’ve long disliked the term ‘amateur’, with its all too easy connotations of ‘amateurish’. The best – not just the very, very best – of amateur theatre can match much within the professional sphere and this production certainly does so. The company might be ‘amateur’ but the production is certainly professional.
Towards Zero, adapted from her novel of the same title by Christie and thriller writer Gerald Verner, certainly contains elements familiar to devotees of the genre that she so substantially helped to shape. The key premise herein is the idea, self-referentially articulated by one of its characters who has been somewhat unimpressed by the crime novel he is reading, that most tales of murder begin with the deed whereas it would be more plausible to conclude with it.
While such plays might prove popular pieces to stage within many amateur theatre groups, it would be easy for them to underestimate the dramatic challenges that they present. That in no way applies to WDP’s Towards Zero or to director Paul Dodman’s realisation of Christie and Verner’s play. Attention to detail characterises all aspects of the production: thoughtful without being fussy, from the set design, including set dressing, through wardrobe, lighting sound and a set of performances that include no weak links but work extremely well both individually and collectively.
While commiserations must go to Lindsay McGowan, robbed of the rewards for her hard work by illness, particular praise must equally be apportioned to stage manager Michelle Barter who steps in as Mary Aldin. I’ve seen a script used on a stage by a very well-known and highly regarded member of the profession a few years ago at Chichester and Michelle Barter manages the challenge every bit as well, referring to the script, when required, in as unobtrusive a manner as could reasonably be expected while genuinely creating a characterisation true to the writing and giving a performance consistent with those around her.
At the heart of the drama, the love triangle of Nevile Strange, wife Kay and ex-wife Audrey brings three excellent performances from, respectively, Sam Moulton, WDP débutante Jo Eva Edington and Tracey Nicholls. The interplay between the three and with the other characters is extremely well done. In another, more uneven production, I would have space to sing the deserved praises of each at greater length. Equally, Tony Feltham and Rob Cording-Cook craft thoughtful, sustained and consistently believable characterisations for Thomas Royde and Ted Latimer, arguably supporting roles but, in terms of their significance and portrayal, certainly more than that.
As Lady Camilla Tressilian, the matriarch presiding over and quick to share her opinions on the domestic web at the play’s heart, Ann McColgan-Clark immediately conveys the febrile and embittered nature of the character, doing so at times savagely but always avoiding the all-too-tempting trap of falling into caricature or cliché. Similarly, albeit in a very different role, Richard Neal’s Superintendent Battle is authoritative and convincing, an individualised characterisation never straying into any sort of stereotype. As good as any performance here is that of Chris Durham as Mathew Treves, not only in his management of that character’s central role in the latter stages of the play but consistently from his very first appearance. And, while their roles provide less with which to work, James Bourner as Inspector Leach and David Beddard-Banks maintain the overall standard – no token portrayals here. Casting can present challenges and enforce compromises for a director, but it is a particularly impressive feature of this production with all on stage absorbingly inhabiting their characters.
The acting throughout this production is convincing by its naturalness while, from the opening lines, pace and variation in tone and mood reflect admirably upon all members of the cast and on director Paul Dodman. Movement always feels natural, never forced or obtrusive, always driven by character, plot, dialogue and interaction. Director and cast should all feel very proud of what they have created. Clearly, Dodman’s vision has been very clearly communicated to and understood by his WDP design team and the Tivoli’s own technical team as every visual and aural aspect of the production works very effectively. It is hard to imagine how the direction could have been better judged than it is.
As theatre comes back to life after its enforced hibernation, the challenges that face groups include regaining audiences, so it was pleasing to be a part of a very good house on Friday evening, the more so since the audience’s response was so genuinely positive, with applause at the end of every scene and very obvious appreciation of an impressive performance.
The run concludes with a matinee and an evening performance on Saturday 23 October. If anyone reading this has been in two minds about either returning to theatre-going generally or attending a performance of this specific production, I would urge you to set aside any doubts and go. Phil Vivian
Marilyn Barber – Dorset View
Wimborne Drama Productions, which never has a problem with attracting enthusiastic audiences, made a dramatic return to the Tivoli stage this week, with a cracking performance on the first night (Thursday) of one of Agatha Christie’s favourite books.
When a house party gathers at Gull’s Point, the cliff top home of Lady Tressilian, Neville Strange finds himself caught between his ex-wife Audrey and his new flame Kay. A nail-biting thriller, the play probes the psychology of jealousy in the shadow of a savage and brutal murder.
The stylish stage set certainly evokes the time set of the 1950s, with realistic views from the windows.
There isn’t one weak link in the large cast of 11, even though stage manager Michelle Barter had to read the part of Lady T’s assistant Mary, replacing Lindsay McGowan because of the latter’s illness.
When you see Tony Feltham’s name in the cast list, you know you are always going to get a convincing performance, and as the unassuming Thomas Royde, he is true to form.
It isn’t easy to portray the immobility caused by severe arthritis, but Ann McColgan-Clark as the imperious Lady Tressilian manages superbly.
I’m not giving anything away here, but Sam Moulton perfects the portrayal of the selfish, vain Neville Strange, stuck in a love triangle.
And then we have Mrs Kay Strange and Mrs Audrey Strange.
New to the company, Jo Eva Edington puts in a spirited performance as Kay, the wilful second wife, with Tracey Nicholls – who is adept at characterisation – as the damaged Audrey.
The part of Matthew Treves, the wise and shrewd observer, is in the very safe hands of Chris Durham who deserves accolades for his rounded performance.
Rob Cording-Cook is no stranger to the Tivoli and as the playboy Ted Latimer he is suitably laconic.
Richard Neal is another Wimborne Drama stalwart, who always gets under the skin of his characters, and once again he brings to life the Scotland Yard Superintendent. He is supported by the very able James Bourner as Inspector Leach and David Beddard-Banks as PC Benson.
Well done to director Paul Dodman and his production team for giving us such a brilliant evening’s entertainment.
This play is totally engrossing, and just when you think you’ve worked out who committed the murder – you have a rethink. I would be very surprised if many people guess the ending correctly.
Welcome back Wimborne Drama Productions – we’ve really missed you.
Programme
