And Then There Were None – Theatre Royal, Norwich

Director: Lucy Bailey

As one of Agatha Christie’s most iconic works, And Then There Were None tells the story of ten strangers lured to an isolated mansion off the Devon coast where a murder mystery unfolds as a storm cuts them off from the mainland. The narrative follows the old children’s nursery rhyme, beginning with ten and one by one each of them dropping, as they are murdered by one of their number. The original Christie classic keeps the reader guessing until the end and this adaptation does her justice, with all of the murder, intrigue, and absurdities essential to a whodunit classic.

The show gets off to a slow start, thanks to the ten suspects each needing to be introduced to the audience and to each other, but this is well managed by the cast who lean into the ridiculousness of the repetition to bring a little tongue-in-cheek humour early on which helps with the pacing. In act two, once a few murders have emptied the stage somewhat, the mystery steers into more of a psychological examination of the characters with backstories developing, hints being dropped, and everyone turning on one another.

Mike Britton’s set art deco inspired design adds ambiance throughout, with the sense of chaos increasing around the characters mirroring the ramping up of the narrative, pairing carefully with the increasingly dishevelled wardrobe. Britton also brings in the use of props to a fashion Christie would have been happy with; a dwindling flickering chandelier reflecting flickering hope before it inevitably crashes down around the cast.

In a packed cast, with each role demanding ranging performances, intrigue, and nuance, there are certainly there are some ups and downs. David Yelland as Judge Wargrave gives a measured performance full of gravitas befitting the character which feels like an anchor for the chaotic maelstrom of the island. There are issues in the wider performances though; often at what should be the height of tension characters fall back into stereotypes and it’s sometimes it’s difficult to tell whether the character is affecting an exaggerated disposition for a reason or its simply down to their performance. The use of staging does save this somewhat, with the choices made around the character deaths, but it feels throughout that the plot is stronger than the performance.

The best part of this story, however, is not the cast, the costume, or the sets. After all this time, the best of it is still the script. Christie’s ability to create characters, build suspense, and create twists you never even thought to look for is still unrivalled and watching her work brought to life on stage will always be a genuine pleasure.

Runs Until: 3 February 2024