Normally, in a whodunit, the question facing the audience is to figure out who the killer is. In Dial M for Murder, now onstage at Great Lakes Theater, Jeffrey Hatcher, who rewrote the present play version of the epic, doesn’t leave us in the air. Early in the play we know who the bad guy is. The question is, will he get caught or will he get away with perpetuating a perfect crime? It isn’t until the very, very end that, as we sit at the end of our chairs, biting our fingernails, we get an answer!
The script was originally penned by Frederick Major Paull Knott, an English playwright and screenwriter known for complex crime-related plots. Hatcher’s adaptation has gone on to be one of the most-produced plays.
The plot is simple. “Tony Wendice married his wife Margot for her money; he now plans to murder her for the same reason. Tony arranges the perfect murder — he hires a scoundrel to strangle Margot, and arranges a brilliant alibi for himself.” But the obvious becomes less obvious, the apparent isn’t that apparent, and the best plans can often go astray.”
Set in a beautiful London art deco apartment, the suspenseful script builds tension through plot twists and turns, gradually revealing Tony’s scheme, using sharp irony in what is apparent and real, often twists into the unexpected. The plot dangles upon a key, a scissors and a stocking.
Opening in 1952, the show was an instant success with critics and audience alike, so much so that it was immediately bought by Warner Brothers and turned into a movie. The flick was directed by the Master of Suspense himself, Alfred Hitchcock, and featured Grace Kelly as Margot and Ray Milland as Tony. The story illustrates how greed, secrets and reputations often motivate what we do and why we do those things.
The Great Lakes Theater production, under the steady directing of Sara Bruner, is a well-paced, excellently acted, and a technically fine staging.
Nick Steen, as has been the case in his twelve seasons with GLT, develops a clear cad as Tony, who is intent in “doing-in” his wife and getting all her money. Jodi Dominick is spot on as Margot, the wealthy woman who naively trusts her husband, Tony. Carie Kawa, Margot’s best friend, and maybe rival for Tony’s affections, leaves us wondering, until the very end, of her real intentions and to whom she has loyalty.
Jeffrey C. Hawkins is fine as the sleezy would-be murderer, Captain Lesgate. David Anthony Smith is on-target as the British inspector Hubbard.
Jeffrey Herrmann’s impressive fragmented set; Trad A Burns’ lightening design complete with a menacing storm and stress-inducing illuminating levels; Matthew Webb’s oft-spooky sound effects; and Darrin J. Pufall Purdy’s era-perfect costumes all add to the quality of the production.
Capsule judgment: Dial M for Murder is the kind of play that, if well done, grabs and holds an audience. The GLT staging is a well-done production that reaches that high level. Go and enjoy a fun night of theater.
Dial M for Murder runs through November 19 in the intimate Hanna Theatre at Playhouse Square.
[Written by Roy Berko]