“Ten little soldier boys went out to dine; one choked on his little self, and then there were nine.”
Guided by the words of a grim and ominous poem, And Then There Were None is yet another genre-defining murder mystery from the mind of Agatha Christie. Aussie icon Robyn Nevin, fresh off her direction of The Mousetrap, has brought a brand new production of the best-selling crime novel of all time to Australian shores, promising to test the wit of its audiences.
Arriving on Soldier Island, ten strangers find themselves cut off from the mainland and trapped in a lavish yet secluded mansion. When a disembodied voice announces the harrowing reasons for their invitation, followed by one of the party turning up dead, they surmise there may be a murderer on the island… and nerves take over.
No matter how many Agatha Christie narratives are consumed, there’s something so exciting and thrilling about her formula that it never fails to get audiences inching towards the edge of their seats. In true Christie fashion, a large group of strangers find themselves in an isolated location when a murder causes suspicion, fear and hysteria to run wild. It’s a tried and true setup that works every time, all thanks to the unique character stereotypes she enlists for her ensemble. Whether it be the young and arrogant Captain Philip Lombard (Tom Stokes), the bumbling General McKenzie (Nicholas Hammond) or the reserved yet old-fashioned Emily Brent (Jennifer Flowers), there’s ample intrigue and mystery surrounding each of the ten soldiers on the board.
With that intrigue comes suspicion, not just within the narrative but in the case of audiences attempting to discern who the killer is. Part of the thrill of an Agatha Christie murder mystery is that everyone is a suspect at some point in the narrative, and this experience here is no different. There’s deceit, lies, secrets and misdirection lurking around every corner, causing you to chop and change your killer prediction at every turn.
Just when you settle on a suspect, they’ll most likely turn up dead by scene’s end. Every death and potentially revealing plot beat is well concealed through red herrings, visual misdirection and sleight of hand. You may think yourself a budding detective, but I promise you this; the more you look, the less you see.
Agatha Christie’s dialogue is something to behold. The first act especially, where the focus is on acquainting us with all of our suspects and setting up the character dynamics that will see us through, is captivating mostly through dialogue alone. The conversational aspects could use some tightening in terms of the delivery, with a couple of scenes not flowing as well as they should. But it’s the lengthy monologue-like dialogue that shines through. Anthony Phelan’s stern delivery as Sir Lawrence Wargrave brings the first act to life with expository words that will have you engrossed in the mystique of what’s going on.
When it comes to tone, the setting of a murder mystery plays a huge role in enhancing the chilling nature of the story. It’s why, like The Mousetrap, many take the form of old-timey houses and mansions for their eerie atmosphere. When the curtain rises and we’re in a brightly-lit modern lounge with an ocean view, you could colour me shocked. Admittedly, the tension wasn’t quite at its peak early on and it took a minute to acclimatise to the vibrant space. Once the narrative progresses and the ominous tone kicks in, the use of score, sound and lighting becomes pivotal and effective in instilling a sense of on-edge fear in the audience.
Performance-wise, everyone steps to the plate when it comes to bringing their respective characters to life, but none do it with so much charisma as Mia Morrissey (Vera Claythorne). Much like everyone in here, Vera is a character troubled by the terror unfolding on the island, and it’s Morrissey’s charm and conviction in the role that has audiences transfixed on her regardless of who’s in the scene. Bringing an equal amount of charisma and chaos to the production is Tom Stokes as Philip Lombard, letting his character’s questionable confidence and arrogance ooze out of every line of dialogue. The two of them share some great moments together and in interacting with the rest of the cast.
As mentioned, Anthony Phelan’s sharp delivery and well-spoken demeanour as Sir Lawrence Wargrave offers a point of difference from the other characters, drawing all eyes to him in some key dialogue-heavy moments. He’s backed by Peter O’Brien as William Blore, a layered performance who brings about much of the subtle comedic beats. There’s not a tonne of dialogue focused on inducing a moment of levity, but O’Brien does foot the bill for most of those moments, adding to the importance of his presence. Overall it’s a ‘killer’ ensemble who all have a part to play.
Hop on a boat and sail your way over to Soldier Island, but don’t forget your detective gear as this mystery is going to require some sleuthing. The brilliance of this production is that no one is safe and everyone is a suspect. It will have you questioning one character’s strange behaviour and another’s suspicious words, accusing everyone and turning on those you thought were once innocent. The journey is a thrill-ride and the destination will leave you stunned, with my first thought post-show being “I need to watch that again to spot the hidden clues”.
FOUR STARS (OUT OF FIVE)
And Then There Were None is now playing at the Comedy Theatre in Melbourne through to March 23rd, 2025. The mystery then moves through Sydney, Perth and Adelaide throughout the year. For more information and to purchase tickets, head HERE.
Reviewer attended on Thursday February 20th, 2025.
Photo credit: Jeff Busby
