By Cynthia Terry
In Springville at Merit Academy, director David Chapa brings Agatha Christie’s classic murder mystery And Then There Were None to life through Springville Playhouse. This thrilling production plunges the audience into the setting of a remote island, where ten strangers are forced to face their dark pasts before they are brutally murdered one by one. The growing tension throughout this mystery leaves the audience biting their nails, hoping someone makes it out alive.
The box-stage venue places the audience directly in the midst of the action, almost as though they are sitting in the living room with the characters while they are introduced. As each new flawed personality unfolds, the audience is left asking, “Who will be the first to go?”
The small cast of eleven deserves high praise as they fully immerse themselves in the complex emotions of regret, justification, and denial.
Michael Wood (Rogers) is the first to grace us with his presence, fully in character even before the lights come up. He effectively portrays a likable and somewhat shy character who slowly unravels as chaos ensues. His goofy interactions partner well with Kimberly McKell (Mrs. Rogers), who delivers a sympathetic performance that starts the tension early on, especially when she suffers a panic attack that sets the stage for the unfolding drama.
The standout, Amber Lee Roberts, (Vera Claythorne) offers an intense journey as she grows from a simple, flirtatious secretary into a powerful manipulator of emotion. Her breakdown into hysterical laughter after a murder catches the audience off guard and foreshadows a much deeper character hiding beneath the surface. As her character grows, so does her chemistry with Philip Lombard, played by Dustin Parmley. Their building romance adds tension to the already suspenseful plot.
Parmley plays Lombard with laid-back confidence, always holding a drink, yet when he returns to the stage with blood on his shaking hands, his horror is palpable. His subtle shifts from confident to terrified make him one of the most compelling characters.
Eric Davis (Anthony Marston) is an easy favorite, commanding attention from the moment he steps on stage. His full-body acting and expressive facial expressions build a sense of care-free creepiness, especially in his interactions with Claythorne. Even when the drama is elsewhere, eyes are drawn back to him as his subtle, unsettling glances spread to the audience, causing an unease in our seats.
Also, we can’t overlook Julia Allen (Frankie Narracott), who, despite her smaller role, leaves a lasting impression. Her comedic struggle to juggle several suitcases adds a light touch of humor, balancing the darker themes.
Ben Spencer (William Blore) is a master at deception, delivering one of the more complex performances of the night. He starts as an aggressively kind character but quickly shifts when his true identity is revealed. His body language and accent completely transform, showcasing his versatility. His dark humor and fiery temper, especially when he yells for someone to “shut the grandpa up,” bring surprising moments of wit to the dark plot.
Karl Young (General MacKenzie) brings an air of tragic melancholy to his character, a man haunted by his past and almost resigned to his fate. His nervous fidgeting and quiet reflections on life and death offer a glimpse into a deeply conflicted soul, while Tina Turner contrasts this with her developed, self-righteous character of Emily Brent.
Turner is brilliant at capturing the character’s moral superiority, never wavering in her portrayal of a cranky woman blind to her own guilt. Her performance makes the audience cringe in the most satisfying way.
Sara Isom (Dr. Armstrong) immediately demands attention as she portrays a headstrong doctor who dramatically crumbles under the weight of her guilt. Her standout moment comes when she confesses to causing a patient’s death, her body visibly collapsing under the heavy burden of her past.
And then there is the bold Michael Roberts (Sir Lawrence Wargrave) who rounds out the cast with his calm, calculating presence at the heart of the group. His confidence as a retired judge naturally places him in control of the situation. His chilling delivery as the plot unfolds leaves the audience in a growing state of suspense.
It’s clear that director Chapa knows how to utilize every drop off talent from the well-selected cast. With the help of assistant director Krystal DiPeri, Chapa captures a growing urgency throughout each detailed moment, keeping the audience guessing until the final breathtaking reveal.
The set, designed by M. Roberts, beautifully captures the eerie calm of the island’s mansion, with lace curtains and navy blues creating a false sense of security. Carson Nielsen’s lighting and sound design are effective yet subtle, with dim orange glows during candlelit scenes and realistic storm and weapon sound effects adding to the tension. I especially appreciate the booming voice of judgment that comes through the speaker, causing mayhem between the characters. The hassle of microphones is brilliantly avoided due to the up-close seating arrangement and the cast’s impressive ability to project with explosive diction.
The costumes, designed by Ramona Swapp and Kaylie Haueter, perfectly reflect each character’s personality, adding to the realism. The meticulous attention to detail in props, such as real drinks, makes the performance feel grounded and immersive.
Besides a well-handled mishap involving fake blood, a particularly memorable moment unfolds after an unnerving blackout. Claythorne seeks comfort from Lombard. Chills creep down my spine as she describes a wet hand reaching around her throat. Lombard accompanies her description by snaking his own arm around her neck in an affectionate embrace, leaving the audience suspended in fear, not knowing whether he is the predator or not.
Due to the occasional use of adult language, dark themes, and slight gore, this production may not be suitable for all audiences.
As a thriller enthusiast myself, I highly recommend, And Then There Were None. The combination of exceptional performances, careful direction, and impressive technical elements creates a truly haunting and memorable experience that leaves adrenaline pumping long after the final bows.
A review by Front Row Reviewers.
Springville Playhouse presents And Then There Were None by Agatha Christie.
Merit Academy, 1440 W Center St, Springville, UT 84663
September 6-27, 2024, 7:30 PM
Tickets: $15.00
Contact: info@springvilleplayhouse.com
www.springvilleplayhouse.com
https://www.facebook.com/SpringvillePlayhouse
Michael Wood, Kimberly McKell, Amber Lee Roberts, Dustin Parmley, Eric Davis, Ben Spencer, Karl Young, Tina Turner, Michael Roberts, Sara Isom, Julia Allen, Dave Chapa, Krystal DiPeri, Carson Nielsen, Ramona Swapp, Kaylie Haueter,
0 Comments