Staging an Agatha Christie adaptation is surely a daunting prospect for any theatre because your audience already knows and loves the material. Change it at all, and your audience will be disappointed. More fundamentally, the production will inevitably be compared to the well-known film and television versions.
This is the unavoidable problem for the new iteration of The Mirror Crack’d, the Miss Marple mystery now playing at The Mill at Sonning. This is the loveliest of theatres, in a picturesque countryside setting that could easily be St Mary Mead, but they don’t have Joanna Lumley or Elizabeth Taylor, Angela Lansbury or Julia McKenzie, not to mention Hugh Bonneville and Caroline Quentin from that wonderful 2011 ITV production.
The Mirror Crack’d review – quick links
Calling Miss Marple
Rachel Wagstaff’s adaptation, directed by Jonathan O’Boyle, retains the essential Christie story about deeds of the past casting long shadows. Glamorous film star Marina Gregg, played with considerable flair by Sara Crowe, is hosting the locals at Gossington Hall when something unexpected happens. (I won’t spoil the plot, but I’m sure you know it already.)
Miss Marple isn’t at the hall, being confined to her house with a sprained ankle, so she hears about the incident through multiple accounts. This works well as a dramatic device but also makes Jane Marple, played here by an understated Liza Goddard, seem a minor character, frustratingly passive as she is confined to her armchair for much of the play.
As always in these stories, it seems the police would never solve a crime at all without the input of Miss Marple, Aunt Jane to Chief Inspector Dermot Craddock (James Mack).
A strong ensemble buoys the production
The strengths of this production of The Mirror Crack’d lie in its strong ensemble and its period presentation. Annie Wensak is especially delightful as the no-nonsense Dolly Bantry, previous lady of the manor, and Elysia Showan is full of energy as Miss Marple’s new maid Cherry. Jane Quinn brings real feeling to the critical role of Heather Leigh.
Michael Holt’s set makes excellent use of the Mill’s intimate stage, creating a period world with easy set changes and multiple entry points for the actors, while Jamie Platt’s lighting and Nick Lodge’s sound design add atmosphere. Natalie Tichener’s hair and costume designs add to the engaging ambience.
Comparison is the thief of joy
The difficulties for The Mirror Crack’d lie principally in the adaptation and direction. This version feels less elegant than the original, with details often repeated and some of its witty social observations diluted. We also lose some of the vital clues that point to what really happened. It basically takes too long to get to the climax, losing its pace and tension, especially in Act Two.
The final moments of the production underline the problem. The mystery has been solved and we now know ‘whodunnit’ but then we have an extended speech that feels redundant and detached from the play in tone and sentiment.
It is a strange ending for a much-loved Agatha Christie mystery, and one that leaves the production feeling less confident than it should. And that’s a shame because there is much to admire here. It just needs sharper editing and a more nuanced directorial approach.
It is always a delight to visit The Mill at Sonning, just outside Reading, with its beautiful riverside setting and impressive waterwheel bar. Tickets to most performances include a meal in their restaurant with a new chef and an updated menu, making it a complete day out or the perfect spot for a romantic date night. And if you’re lucky you might catch a glimpse of their famous neighbours, George and Amal Clooney, who own Mill House just next door.
