‘Dial M For Murder’ – Adapted by Jeffrey Hatcher from the original play by Frederick Knott; Directed By Weylin Symes; Lighting Design by Jeff Adelberg; Scenic Design by Katy Monthei; Costume Design byDeirdre Gerrard; Sound Design by Andrew Duncan Will. Presented by the Greater Boston Stage Company at 395 Main St, Stoneham, through May 19
by Mike Hoban
The Greater Boston Stage Company has long been a go-to venue for musicals, including classics like 42nd Street, How To Succeed in Business Without Really Trying, and last year’s Eliot Norton Award winner, Ain’t Misbehavin’, with fan favorite Guys and Dolls set to go up in June. In recent years, though, they’ve delved into another niche genre: murder mysteries, including a pair of Miss Holmes productions (starring Marge Dunn as a kind of neurodivergent Sherlock Holmes) as well as a riotous version of The 39 Steps in 2021 (although it was far more comedic than mystery) and Clue, another murder mystery comedy.
The latest offering is a re-imagined version of Dial M For Murder. Advertised as “a fresh take on the renowned murder mystery,” the play was originally a television production for the BBC, later adapted into the iconic Hitchcock film. This new adaptation, penned by Jeffrey Hatcher in 2021, introduces a significant twist to the plot, where the fabulously wealthy Margot Wendice (Kimberlee Connor), the wife of the charming but scheming weasel husband, Tony (Michael Ryan Buckley), is having an affair with Maxine (as opposed to the male Max in earlier versions), a murder mystery novelist played by Lily Kaufman. It’s a modern twist that dramatically raises the level of scandal for the play, given that it’s set in the 1950s in London.
Maxine is in town to promote her latest crime novel, and Tony, an unsuccessful writer, is her publicist. Margot and Maxine meet up at the Wendice’s home, ostensibly to catch up, and Maxine schools Margot on why people to commit murder (at least in crime stories): Money, fear, jealousy, revenge, and the desire to protect someone you love – all of which may figure into the narrative as the plot unfolds. After the light banter, Margot reveals that one of her cherished love letters from Maxine has ended up in the hands of a blackmailer, whom she has already paid but has not received the damning letter as promised. This sets the stage for an evening of twists and turns as a murder plot leaves the world of the hypothetical and becomes reality for the characters.
While Dial M is a taut thriller, it’s not a whodunit. We watch the killer do their deed in real-time in a murder plot gone horribly awry. The thrills of the production lie in the unveiling of motives and Scotland Yard’s roller coaster ride of attempting to identify the correct killer. (That’s it for spoilers).
The highly stylized dialogue is delivered rapid fire, so this is a play that commands your full attention throughout. Director Weylin Symes paces the action beautifully, allowing you to catch your breath to process each new piece of information before rocketing to the next plot development. The cast is first-rate and includes Bill Mootos as the shifty Lesgate and Robert Murphy as Inspector Hubbard. Interestingly, what makes this production sing is not outstanding individual performances but a cohesive effort that gives the audience a feeling that they’re peering through a window watching the action rather than sitting in a theater.
Katy Monthei’s set design (with an assist from the Ogunquit Playhouse Scene Shop) is nothing short of stunning without being ostentatious. Instead, it’s warm, elegant, and inviting – a perfect setting for entertaining – or murder. For tickets and information, go to: greaterbostonstage.org
This was a great production my wife and I heartily enjoyed. The cast handled a challenging script smoothly. The set was both interesting and somewhat spooky with its angled walls. Kudos to GBSC!