Accountability is behind the twisted Agatha Christie tale And Then There Were None.
Eight people are invited to a luxurious island retreat off the coast of Devon, but when they arrive their supposed hosts are not there to greet them.
Photos by Jeff Busby
Attending to them are a butler, Rogers (Grant Piro), and his wife, a cook, Mrs Rogers (Christen O’Leary), who were only engaged for service in the past week.
While getting to know one another, the visitors are played a recording, outlining their “crimes”, all of which resulted in death, for which they will have to pay.
Thereafter, one after another, all in the mansion with oceanfront views are knocked off.
Among those present are pretty and amiable secretary Vera Claythorne (Mia Morrisey) and self-assured captain Philip Lombard (Tom Stokes).
Also in the house are former High Court judge Sir Lawrence Wargrave (Anthony Phelan) and nerve specialist Dr Armstrong (Eden Falk).
Then there is policeman William Blore (Peter O’Brien) and hardnosed, intolerant, religious woman Jennifer Flowers.
Finally, we have increasingly mentally challenged General MacKenzie (Nicholas Hammond) and young, reckless driver Anthony Marston (Jack Bannister).
They have been transported to Soldier Island by Fred Narracott (Chris Parker), who is also responsible for bringing across provisions.
The idea behind the book, turned into a play, is for the reader/audience to try to guess/work out who is behind this/who is pulling the strings.
It soon becomes clear that the orchestrator/killer is in their midst.
As the body count grows, so too does the paranoia and fear among the remaining survivors.
Eighty-six years after Agatha Christie first had it published, And Then There Were None remains a mind bender.
It is clever and creative.
Of course, as is human nature, all assembled can be triggered and, as such, no one is clear of suspicion.
Early on, we get a handle on the respective personalities and, as time passes, hear more of their backstories.
But does that solidify the culprit? No.
We listen and watch for clues, but still the truth remains elusive, until the reveal very late in the piece.
Skilfully directed by Robyn Nevin AO, who earlier had helmed Agatha Christie’s The Mousetrap, Then There Were None kept me engaged and entertained throughout.
The performances were solid, with strong characterisations. All had the spotlight turned on them and came through with flying colours.
Among those gathered, we could see arrogance and entitlement. Mind you, that doesn’t, in and of itself, translate to a diabolical schemer.
Making a very positive impression is the sprawling, elegant, modern set by set and costume designer Dale Ferguson.
It represents the living room of the mansion, along with the outdoor patio, overlooking the beach.
On the coffee table indoors sit 10 plaster soldiers, a nod to the dark nursery rhyme that mirrors the systematic deaths in the Agatha Christie story. Suffice to say, the 10 won’t remain together for long.
Sound and lighting play a crucial role, be that the call of gulls, or rain, thunder and lightning, or the separation of day from night.
And then there are loud, all but jump out of your seat, dramatic stings.
The sound designer and composer is Paul Charlier, while the lighting designer is Trudy Dalgleish.
And Then There Were None hangs together beautifully as a well-orchestrated and suspenseful whodunnit.
It is playing at Comedy Theatre until 23rd March, 2025, before moving to Theatre Royal in Sydney from 3rdMay to 1st June.
The show opens at His Majesty’s Theatre in Perth on 8th June, where it will play until 29th June.
The Australian tour finishes at Her Majesty’s Theatre in Adelaide between 2nd and 16th August.
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