“Dial M for Murder” at Great Lakes Theater opens on two women dressed in gowns for the theater sharing a drink and discussing the motives for murder. The show begins exactly as you’d expect a 1950s era thriller to begin: with coiffed hair, cheeky dialogue, puffs of cigarettes and timely accents–wait…did their hands linger together just a moment too long? Is that longing behind their gazes? Does this period piece actually feature a gay relationship?
It certainly does. This is just one of the updates made in Jeffrey Hatcher’s 2022 adaptation of Frederick Knott’s original work, which made a name for itself on the radio, on Broadway and on the silver screen in a 1954 film directed by Alfred Hitchcock.
Great Lakes Theater’s production of Hatcher’s “Dial M for Murder” is both familiar and new; it honors traditional elements of classic thrillers but breathes fresh air into the narrative in a production that is thick with suspense and intrigue.
In Hatcher’s version of the story, wealthy Londoner Margot is having an affair. Although married to Tony, a failed author who found a second career in book publicity, Margot finds comfort in the arms of her mistress, a murder mystery novelist named Maxine. However, after an especially salacious letter from Maxine is nabbed from Margot’s purse, the anonymous thief begins to use their relationship to blackmail Margot for money.
Unbeknownst to Margot, Tony is also aware of the affair, which is especially personal to him as he is currently working on the marketing campaign for Maxine’s new novel. He married Margot for her money, and any threat to the relationship is also a threat to his inheritance. Tony is confident in his ability to plan the perfect murder, and he enlists an old acquaintance, Lesgate, to help him carry out the job. But when Lesgate’s murder plot goes awry, Margot, Maxine and Inspector Hubbard seek to uncover the truth, just as Tony works to obscure it.
While the show maintains the same bones as writer Knott’s original work, the adaptation by Hatcher, which was commissioned by The Old Globe, tightens some elements of the plot and reimagines relationships, the most notable being the relationship between Margot and Maxine, who is originally a character named Mark.
Remaining much the same is the clever plot, which is as engaging as ever, and it is unfolded with great skill and artistry by the cast and creative team under Sara Bruner’s direction.
The story takes place in a gorgeous London flat outfitted with mid-century furniture and details designed by Jeff Herrmann. The space is dominated by tall windows that allow for clever peeks into the comings and goings of the cast of characters. A semi-masked view into an alcove behind an oft-used bar is an especially intriguing use of scenery that adds to the suspense.
Herrmann’s set is complemented wonderfully by the lighting provided by Trad A Burns. Burns provides the cast with a combination of mounted and hanging lights, with a table lamp thrown in for good measure, with which they can interact. Spaces behind the flat’s windows are lit with a foreboding red or mysterious blue glow.
Sound designer and composer Matthew Webb employs plenty of mysterious music and sounds befitting a classic suspense/thriller. While these sounds are all fitting for the genre, the dramatic stings feel intrusive at times and can come across as slightly corny during otherwise tense moments. The best use of the music is when it swells slowly and integrates into the show in a more natural fashion.
The most notable combination of the aforementioned designers’ efforts occurs during Lesgate’s attempt on Margot’s life. The house lights are dim and rain pours down the flat’s windows. Lightning is flashing and thunder is cracking as the sounds of a radio interview drone in the background. It’s quite atmospheric, and a fertile environment for suspense.
While this scene is rife with physical tension, the same cannot be said for the majority of the show. It is up to the actors to deliver their dialogue, which often consists of excuses, lies and explanations, in an intriguing fashion. Director Bruner keeps the pace quick and her talented troupe of actors master the dialogue with a skill that ensures that your attention never lapses.
Playing Margot Wendice is the wonderful Jodi Dominick. Margot, who is the victim of blackmail and a murder plot, is understandably hysterical, and Dominick portrays these moments with sincerity. She makes for an empathetic victim, but also brings a quiet–and welcome–strength to the character.
Carie Kawa is Maxine Hadley, Margot’s lover. Kawa is sly and flirty, witty and seductive. Her gaze toward Margot is full of both longing and love, giving weight to the relationship that brings a freshness and modernity to the show.
Tony Wendice is played by Nick Steen, who alternates between malice and charm with the apparent ease of flipping a switch. His cunning actions are all accompanied by an air of resentment, and his lies are gilded with charisma, making Tony’s character especially dynamic.
Rounding out the small cast is Jeffrey C. Hawkins is Captain Lesgate, the murderer for hire, and David Anthony Smith as Inspector Hubbard, the policeman in charge of investigating Margot’s claims of attempted murder. Hawkins is properly cold and calculating, while Smith’s Hubbard is full of self-righteousness, which leads to a few chuckles.
The characters are dressed in rich colors and lavish, 50s era clothing by Darrin J. Pufall Purdy. Their costuming, along with the characters’ styled hair, jewelry and constant smoking and/or drinking, helps transport us to the proper time period.
It may be an old-fashioned show, complete with a cheeky–slightly corny–title, but don’t be mistaken; the adapted “Dial M for Murder” at Great Lakes Theater contains traditional elements of suspense that aficionados have come to love, but infuses just enough modernity to keep you on your toes.
“Dial M for Murder” runs through November 9 at the Hanna Theatre, 2067 E 14th St, Cleveland. Visit greatlakestheater.org or call (216) 241-6000 for tickets, $24 – $119.
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