Savannah Bay Strandin in Dial M for Murder
It may be spooky season, but admittedly, thrillers are not my thing. I suppose I’ve always been of the mindset that the world is creepy enough that I don’t need my art to be, as well. Nevertheless, while the Black Box Theatre’s latest, Dial M for Murder, did, in fact, feature murder, director (and fellow Reader reviewer) Alex Richardson’s program notes say it better than I could: “Rather than trying to figure out who did the deed and why, you’ll be trying to figure out whether or not they get away with it.” In short: This isn’t your average thriller, and, dare I say, … that alone thrilled me.
In this adaptation by Jeffrey Hatcher, the plot has shifted slightly from that of the iconic 1954 Hitchcock film you may be familiar with. Here, Tony and Margot Wendice (Victor Angelo and Savannah Bay Strandin) find themselves in the center of a murder. And with the help of their dear friend Maxine (Stephanie Moeller) and Chief Inspector Hubbard (James Driscoll), all is revealed in good time.
Straight away upon entering the theatre, you can’t help but notice that the set by designers Lora Adams and Michael Kopriva is stunning. Richardson also served as lighting designer for his production, and though the space was initially dimly lit, it was enough to suggest the opulent home the Wendices occupy. The mood was further set with a John Gromada’s sound design, previously used for Minneapolis’ Guthrie Theatre’s production of Dial M for Murder. Richardson also added his own sound-effect flair to the design, and the resulting sound was superb.
As the show opened with a macabre and rather funny discussion that found Maxine and Margot alphabetically listing ways one could murder a person, it was clear – thanks to the accents Moeller and Strandin employed – that we were now in Jolly Old England. While Hatcher updated some plot points, including the relationship between Margot and Maxine, we are still firmly in the 1950s and would be dialing M on a rotary dial telephone. This time period was exemplified by Adams’ absolutely gorgeous costumes – the ladies looked lovely in every outfit, and so did the gentlemen. (Though one particularly funny moment, to me, came when Tony said he was going to get dressed but was already clearly wearing a necktie under his robe.)
Strandin and Moeller had great on-stage rapport; Hatcher's script offers plenty of dry humor woven in, and these lovely ladies could absolutely deliver a line gloriously, at times making me audibly chuckle. (A fun surprise, as I wasn’t anticipating humor and wit.) Strandin’s Margot played up the slight naivete that many extremely wealthy folk tend to possess, based on their sheer inability to see how others live. Moeller’s Maxine was extremely self-aware and sure of herself, making her a sensational companion for Margot. The scenes featuring this duo were particularly engaging highlights of this Dial M for Murder.
Angelo’s portrayal of Tony, however, somewhat befuddled me. Tony isn’t particularly likable, but he’s also not someone you instinctively want to go ahead and hate right away. One can almost understand Tony’s perspective, until his villainous side comes out in full force, but even then, he didn’t seem nearly as evil as I would have anticipated. I was also unclear if some of his pauses were character choices or merely memory lapses during some of the character’s more verbose lines.
Meanwhile, Tyler Henning, in the role of Captain Lesgate, was very likable from the moment he arrived on stage. Lesgate was definitely just a pawn in Tony’s plan, but Henning made this morally questionable character’s brief appearance well-rounded and as enjoyable as possible. It would have been neat to see Driscoll’s Hubbard and Lesgate interact – woefully, the script doesn’t give us that opportunity. Driscoll brought an authoritative quality to Hubbard while still maintaining the kind demeanor I have come to expect from a Driscoll character. Hubbard and Maxine working in cahoots towards the end of the second act was a particularly interesting pairing to watch.
There wasn’t a ton of room for Richardson’s cast to move around in given such a small apartment – a fact highlighted on Sunday afternoon when Strandin knocked over a table. (The onstage talent covered for the accident beautifully.) The cast, however, used the tight space believably, though I wish there had been cause to send people over to the desk area more frequently, as the majority of the action skewed more stage-left due to the placement of the chair and love seat.
Dial M for Murder is unquestionably a great addition to the spooky season: It’s not particularly scary so much as it’s thought-provoking, with twists and turns that keep you on edge until the end. Hatcher’s adaptation brings this classic story to life in a way I wasn’t expecting, and Richardson's production, overall, made for an excellent two hours of theatre.
Dial M for Murder runs at the Black Box Theatre (1623 Fifth Avenue, Moline IL) through November 2, and more information and tickets are available by calling (563)284-2350 and visiting TheBlackBoxTheatre.com.
