““Bugger!” cried Miss Jane Marple, as the pain in her leg prevented her from reaching the telephone on time” is a line that you won’t find anywhere in the oeuvres of Dame Agatha Christie, but it is the opening gambit in Rachel Wagstaff’s endearing new adaptation of the Queen of Crime’s 1962 novel The Mirror Crack’d from Side to Side, currently thrilling us at the Royal and Derngate, Northampton, until Saturday 5th November.
In a nutshell: American movie star Marina Gregg has bought Miss Marple’s friend Dolly Bantry’s old home Gossington Hall, and Marina is making a new movie Katherine of Aragon at a nearby film studio directed by her loving husband Jason Rudd. Unfortunately, at a drinks reception for local dignitaries, the neighbourhood St John’s Ambulance Chair, Heather Leigh, drops down dead, apparently poisoned by her Strawberry Daquiri. But was Heather the intended victim? And whodunit? Don’t think I’m spoiling it for you, by the way – all this comes out in the first couple of minutes!
The Mirror Crack’d, as it is now usually called, lends itself to adaptations like a duck to water. Perhaps most memorably, it became a glossy American movie with Angela Lansbury, Elizabeth Taylor and Rock Hudson in the 1980s, a film which has survived the test of time rather well. As a result, I think many in the audience already knew whodunit; I did, mainly because it wasn’t long ago that I wrote about the book in my Agatha Christie Challenge. The fact that it’s still a remarkably entertaining show is a testament to the creativity of this production.
As you can guess from that opening line, the adaptation isn’t 100% faithful to the original book, which has heaps more red herrings, an additional murder and extra suspects; but then something has to be omitted when you distil a 200 page novel into two-and-a-quarter hours (including interval) of stage fun. There are quite a lot of liberties for the Christie purist to come to terms with, including a whole re-writing of two of the original roles, as well as presenting a much more up-to-date Jane Marple who’s not averse to showing her emotions and dropping the odd expletive. But Rachel Wagstaff’s adaptation is cunning, creative, pacey, fluid and tremendously rewarding. It’s also remarkably funny in a way that I certainly didn’t expect.
In most Miss Marple books, the wily old lady sits at home with her knitting and thinks out the solution to a crime, whilst her friends bring her nuggets of information to chew on. Appropriately, this adaptation concentrates on Miss Marple at home, whilst she (and we) see the accounts she hears of the crime being acted out in front of her. It’s a very clever staging that stays true to the essence of the character and books, whilst still bringing the whole drama very much to life.
Of course there are some scenes at the studios where Miss Marple attends, seemingly as the guest of Inspector Craddock – Chief Inspector Craddock as he would like to be known, or Dermot, as she mainly knows him, having looked after him as a child after his mother died young. Much is made of the personal relationship between Dermot and Jane, and it works rather well, being a source of both high emotion, as when he finally becomes able to talk about his grief, and a source of comedy because Miss M has a tendency to treat him like a child. “I know how to make a cup of tea!” he yells, as he storms off to the kitchen, whilst Miss Marple quietly takes over his investigations. There’s a very funny scene where Craddock interrogates Marina whilst Miss Marple is just sitting in a corner pretending to be much older and battier than she really is – but of course she’s dissecting every word she hears.
Adrian Linford has created an intriguing stage design for the production; basically a revolving corridor with doors at either end and glass panels along the side, that swivels into place at slightly different angles, effectively suggesting all the various internal locations of the story. A very significant part of the production involves Max Pappenheim’s sound design and compositions, which eerily surge as the characters’ individual dramas unfold before Miss Marple’s eyes. The music certainly adds to the tension and atmosphere.
Susie Blake felt like an intriguing casting choice for the role of Miss Marple and I wasn’t entirely sure whether I could see her in the role. I needn’t have worried – she’s superb. She conveys all the character’s kindness and supportiveness, but also shows her devastating quick-wittedness and incisive mind. It’s a terrific central performance; the whole show revolves around her. Sophie Ward is also excellent as Marina, combining a superstar’s rather patronising sufferance of the public with an understatedly vicious aloofness when she’s had enough of you.
Oliver Boot is superb as Craddock, the butt of many of the jokes, balancing a nicely underplayed superiority against being the foil to Miss Marple’s more expert sleuthing prowess. Joe McFadden is excellent as the bad-tempered but earnest Jason Rudd, and Veronica Roberts is hugely entertaining as Dolly Bantry; gossipy, a bit stuck-up, but very supportive to her friend. Jules Melvin gives us a very hearty and brusque Heather, and I really enjoyed Mara Allen’s light touch of comedy as Miss Marple’s housekeeper Cherry. But everyone puts in a solid and enjoyable performance.
There’s a moment at the beginning of Act Two where Craddock loses his temper with Miss Marple; and I’ve rarely seen an audience so rapid to intervene to their heroine’s defence! That’s a sign that we were really engaged with the play. There’s a lovely running gag with one of the characters desperate to be interviewed by Craddock but always being turned away in favour of a more interesting suspect. And if you’re from Croydon, prepare to have your hometown taken in vain!
Many years ago we saw the Agatha Christie Company present a stage version of The Hollow. Mrs Chrisparkle hated it so much that she vowed never again to see a Christie stage adaptation! I’m delighted to report that The Mirror Crack’d has turned her into a Christie aficionado once again. I wasn’t expecting to be wowed by this production, but we were both shocked at how thoroughly enjoyable the whole thing is!
Production photos by Ali Wright