DEAD ON ARRIVAL
The Murder of Roger Ackroyd, adapted for the stage by Mark Shanahan from Agatha Christie’s 1926 novel, premiered at the Alley Theatre in Houston, Texas in 2023. It’s no surprise that the West Coast premiere at Theatre 40 in Beverly Hills is only the second production, as Shanahan’s script draws out the action at a snail’s pace with stereotypical characters, here over-played for laughs thanks to Jules Aaron’s direction, or lack thereof. So rather than an absorbing tale of murder, lies, passion, and surprises needed for a mystery to work, it’s played like a comical farce, and a bad one at that. And given the number of audience members falling asleep, It would have helped if the cast picked up the pace and held back on the over-the-top histrionics that spoil the beloved Christie tale.
Diane Linder, Anica Petrovic, Caroline Westheimer
Matt Landig, Rebecca Del Sesto, Michael Mullen, Michele Schultz
What does stand out are the historically accurate and beautifully tailored costumes designed by Michael Mullen, who takes on the central role of sleuth extraordinaire Hercule Poirot, who is called upon when the tiny village of King’s Abbot is rocked by scandal when Roger Ackroyd’s fiancée Mrs. Ferrars is discovered dead from an apparent suicide. The heartbroken Roger (Todd Andrew Ball), the wealthiest man in town, suspects foul play. Within hours, Ackroyd is also found dead with a knife in his back — clearly not a suicide.
Matt Landig, Michael Mullen, Diane Linder
Michael Robb, Caroline Westheimer, Rebecca Del Sesto, Ian Riegler, Anica Petrovic
Enter Poirot to investigate the crime in a mansion filled with suspects, leaving the local police Inspector Ragland (Joe Clabby) baffled since each has their own motive to want Roger dead. Was it his money? Something or someone he did? Or just a case of revenge? Fortunately, the mysterious Dr. Shepard (Matt Landig) who claims to be, among other things, a retired detective, arrives in King’s Abbot and puts himself on the case. He and Poirot team up, but the chemistry between Mullen and Landig is a bit too regimented to feel natural.
Michael Mullen, Matt Landig
Other overplayed characters include Ms. Russell (Caroline Westheimer), Ackroyd’s housekeeper and perhaps his lover for a time, whose jealousy surrounding Roger’s affair and engagement to Mrs. Ferrars, as well as her need for money, make her a suspect. Then there’s Ursula (Rebecca Del Sesto), the parlor maid who Poirot learns was dismissed from her position by Ackroyd on the same day he was murdered. Self-proclaimed martyr Gertrude (Diane Linder) is the widow of Roger’s brother, known for being concerned about Roger’s financial obligations to care for her and her daughter Flora (Anica Petrovic).
Caroline Westheimer, Michael Mullen, Todd Andrew Ball
Joe Clabby, Michael Mullen, Diane Linder, Anica Petrovic, David Hunt Stafford
Rounding out the cast are David Hunt Stafford as Major Blunt, a stoic and, well, blunt but not particularly bright military man who was a lifelong friend of Roger’s. But what is he hiding from the others, causing him to appear shifty-eyed at times? Michele Schultz portrays Caroline Sheppard, a critical gossip who is often quick to jump to conclusions and insists she is always right. She also considers herself a talented detective and is determined to reveal what she knows, which just might be a lot. Michael Robb portrays Parker, the efficient and suave butler. However, he has a shifty and smug demeanor that makes the estate staff and investigators distrust him even while the drinks are flowing under Parker’s attention to detail.
Joe Clabby, Rebecca Del Sesto, Caroline Westheimer, Michael Robb, Michael Mullen
Matt Landig, Michele Schultz
Jeff G. Rack’s scenic design repeats its appearance once again (they’ve been using the same set all season), this time with glass double doors leading outside to add a country feel to the estate. The lighting design by Derrick McDaniel includes spotlights during revealing soliloquys, the sound design is by Nick Foran, and the hair, wig and make-up design by Judi Lewin complements Mullen’s striking 1927 costume design, which requires many changes during scene breaks, adding unnecessary time to this already too-long play during which nothing really happens until the very end, except perhaps the snatching of forty winks.
photos by Peter Miller
Agatha Christie’s The Murder of Roger Ackroyd
Theatre 40
Mary Levin Cutler Theatre, 241 S. Moreno, on the campus of Beverly Hills High School
accessed via the driveway at the intersection of Durant and Moreno Drives
ends on December 15, 2024
for tickets ($38), call 310.364.0535 or visit Theatre 40