Review: Dial M for Murder at the Ensemble Theatre

Review by Scott Whitmont

It's been over 70 years since Alfred Hitchcock's Dial M for Murder starring the legendary Grace Kelly held audiences on the edge of their seats. Based on the stage play by English playwright Frederick Knox, it was adapted by American Jeffrey Hatcher three years ago. Though true for the most part to the original, its main difference is that our ingenue, Margot Wendice - though still carrying on an affair with an American author - is doing so with a woman. In 1950s London, a scandal, once this is revealed, is assured. This new, queer identity theme adds marvellously to the already skilful plot twists and tensions.

It is not as easy to sustain the pace and suspense of a thriller on the stage as it is onscreen or in a book, but the Ensemble's new production under the masterful directorship of Mark Kilmurry does just that, with the audience's happy, rapt attention throughout.

Book publicist Tony Wendice (Garth Holcombe) admits that he married for money. Confidant in his own invincibility and the personification of malice, his eye is on Margot's significant inheritance. He devises what he thinks will be the perfect crime - the murder of poor Margot that could not possibly be traced back to him....or could it?

Holcombe is the consummate antihero - odious in his Machiavellian plotting, whose loving-husband demeanour chillingly changes as soon as Margot (Anna Samson) leaves for a night at the theatre with her 'friend', crime writer Madeleine (Maxine Hadley) who is just perfect in the role. Samson's emotional range is impressive, giving a nuanced and gripping performance. (In the interest of 1950s authenticity, however, some make-up applied to cover her noticeable back tattoo would be advisable).

David Soncin as Lesgate, Wendice's old university acquaintance and would-be murderer is appropriately sad and opportunistic, while Kenneth Moraleda as Scotland Yard's Inspector Hubbard is just charming as the clever detective who may seem bumbling at first glance, but cleverly solves the murder, revealing the surprising twists and turns leading to the truth.

Special mention must go to the work of Composer & Sound Designer, Madeleine Picard. Her movie soundtrack-like music is fittingly ominous and haunting, with perfect sound effects such as a scream, a phone or stormy thunder contributing befittingly to the atmosphere.

It is hard to imagine a more captivating night at the theatre. Hurry to Kirribilli. (Playing until January 11th).

Image Credit: Phil Erbacher