Review by Jennifer Mustoe, Front Row Reviewers
In a Utah premiere, Dial M for Murder is a tight, interesting murder mystery that packs intrigue, deceit, murder, infidelity, greed, amoral characters, and of course a grisly death into a two-hour thrill ride on the Pioneer Theatre Company‘s wonderfully designed stage. Former lovers Margot Wendice (Awesta Zarif) and Maxine Hadley (Lucy Lavely) chat on the couch in Wendice’s apartment, and these two actresses convince us that they were once a committed couple, with dialogue that is convincing of a former intimate relationship, and brings us a wonderful beginning to a show about murder. These characters have a spark and sparkle that I found interesting. The storyline is itself interesting, as these two women seem to be friendly, though perhaps longing for their lost love. The chemistry between these two actresses immediately convince us that they are more than capable of showing the many facets of this friendship.
Margot has married Tony Wendice (Dan Domingues) and the couple live in a smart apartment in London. From the start, it seemed to me that the marriage is strained, or at least a chilly lack of enthusiasm toward one another, though one wonders if it simply typical behavior in London in the early 50s. The married couple seem display little of the warmth that Margot and Maxine share, though there doesn’t seem to be any real rift. However, Tony has concocted a plan to have his wealthy wife murdered. Aaron Cammack as the thug Lesgate is hired by Tony to be the killer. Tony has meticulously gathered so much dirt on Lesgate (of which there is plenty) that the husband convinces the thug that it is worth a great deal of money to kill Margot, and Tony will keep quiet about Lesgate’s many brushes with the law.
The acting in Dial M for Murder is as thrilling as the plot. Maxine and Margot’s visit gives us the undertones of their complicated relationship. Zarif shows Margot’s fragility and lack of confidence in a way that made me not only like her but want to protect her. Zarif manages to show Magot’s complex character and watching her glide around the apartment feels not just natural but poised, lovely, and refined. Lavely’s Maxine is brash, exciting, and ready to take on the world. Maxine recently had her novel published and is riding high with this success. I loved Lavely in this role. Her physical choices onstage are taut and deliberate. It is as if Lavely has a spotlight on her all the while she’s onstage. The connection between the two women is dynamic, and their yin/yang combination is satisfying and convincing. The underlying unfinished business between the two characters is a statement of the actors’ ability and skill.
While Margot and Maxine are away, Domingues is winningly slimy in his meeting with Lesgate. Domingues methodically and rather proudly and joyfully shares details of why Lesgate will be forced to kill Margot. Again, we see two actors onstage, each with such different personalities and it’s fascinating. Domingues is suave and persuasive as he explains the plan and his energy is compelling. It’s as if you can feel his brain clicking as he lists all the info he’s gathered on Lesgate. He is a maniac, of course, but Domingues seems almost likeable. Though I wasn’t cheering for him since he’s clearly unhinged, I liked Tony and this is due to Domingues embracing all of Tony’s madness. I hate to even say madness because Domingues has wrapped it all in a nice, neat package of privilege and politeness. Narcissistic Tony is having fun here, praising his amazing prowess in all aspects of the murder and Domingues is so believable I rather admired Tony.
Cammack has the talent to show Lesgate’s bravado and maybe even his genuine pride in his illegal and unethical exploits. As Tony starts to list Legate’s lawbreaking, Cammack shows Legate’s facade crack and then disappear. Cammack takes his character from strong to weak, free to captured, and finally his resignation to the murder as a defeated small time crook. It’s as if Cammack entered the apartment ten feet tall, and throughout Tony’s blackmailing plan, Lesgate actually diminishes in physical size as well as emotional confidence and swagger.
Tony’s plan goes awry and Margot goes from victim to killer as she fights for her life. Zarif is magnificent in this scene, her fear snaps in the theater. I may have been holding my breath during the struggle, and the fight goes on–viciously. I identified with the innocent Margot and inwardly cheered as she fought for her life. Lesgate is strong, but… not enough. The scene goes on longer than I would have expected (delightfully so), and director Michael John Garcés has directed this perfectly. As the fight continues, Garcés gives his actors the opportunity to be physical onstage that is both exciting and horrifying.
Tony framed his wealthy wife as the murderer and Inspector Hubbard, played by Peter Howard, enters the plot. Howard is a canny fellow wrapped up in a jolly almost oblivious charade, and Howard sails into the scene with a generous amount of vitality. He arrests Margot, but you can tell that Hubbard isn’t a buffoon, but a skilled investigator. Bereft and angry that Tony has manipulated not just the hapless Lesgate, but has doomed his wife to hang for murder, Howard as Hubbard is the hero of the day and really the only male character that has any character. Howard isn’t just enjoyable to watch, but offers hope that his skills will set things right. Howard strides back and forth onstage as a whirlwind, and I loved every minute of his performance.
The set for M is for Murder is genius. Scenic Designer James Noone has created a set that is lovely and inviting. We’d like to go have coffee or tea here–stylish but comfortable. Though there are no scene changes, the lovely Wendice home provides a space for the friendliness and the beginning of Act One to the darkness as the act ends. Noone has designed a space that facilitates both. Sound Designer Daniel Perelstein Jaquette supplies a smooth playlist of period music that almost screams that something is going to happen. It’s in the music as well as in the air. I felt lured into a wonderful plot of deceit and Jaquette’s music is perfect for the play. The lush costumes by Patrick Holt paint a wonderful identification of who each character is and what they represent. In Scene One, Margot’s stunning green dress with its lovely full skirt and delicious sheen floats around her every step. It is bewitching. Her costumes throughout the play show her financial ability to dress well and she does so with dignified class. Maxine’s no nonsense dress in Act One, though also lovely, with its straight skirt and business like lines, gives us the impression that this woman can do anything as her career as a successful author blossoms. Tony’s costumes, including a dapper but understated suit and a dressing gown, show he enjoys dressing well on his wife’s tab. Lesgate is wearing a costume that one can expect on just your average bloke. The juxtaposition of his costume with those of the other players is obvious and effective. Detective Hubbard’s suit is gray with a tinge of silver. Could it be he is a knight is shining armor? I’m saying yes. Lighting Design by Tom Ontiveros is delicious and delightful. At the beginning of Dial M for Murder, all is light and bright that shouts, “We’re all happy here.” But as the play continues, slight lighting cues increase our anticipation that things are darkening, figuratively and literally. Fight Director Brent Gibbs gives us one of the most dynamic, scary, thrilling, and desperate attack scenes I’ve ever seen onstage. (See content advisory below.) I was not just riveted but terrified. Director Garcés has created a show that has atmosphere, dignity, hope and despair, and most importantly, intrigue. The themes in this show: greed, power, manipulation, blackmail, revenge, and domestic violence, are well executed in this production.
What I enjoyed the most were the vignettes of each scene, characters entering and exiting, and leaving us with two or three actors onstage at one time. The dynamics of each group of players, the energy in each one is on point, enhancing and encouraging the play to snap along with lots of excitement and anticipation. The resolution of the play may be expected and certainly hoped for, but it nonetheless supplies not only a satisfying ending, but for me, the opportunity to finally relax. Dial M for Murder brought me all the things: dread and joy, beauty and ugliness, pain and redemption.
Dial M for Murder plays until January 25th and is well worth attending. Its storyline is exciting and the performance is marvelous. A spot of fire and finesse in chilly winter.
Pioneer Theatre Company presents Dial M for Murder by Frederick Knott, adapted by Jeffrey Hatcher.
Simmons Pioneer Memorial Theatre, 300 1400 E, Salt Lake City, UT 84112
Monday–Thursday 7:00 PM, Friday & Saturday 7:30 PM, Saturday 2:00 PM
ASL-Interpreted Performance: Monday, January 20th @ 7:00 PM
Curtain Call for All (Pay What You Can) Performance: Tuesday, January 21st at 7:00 PM. (Call the PTC Box Office at 801.581.5951 to book
Tickets: $44-57 ($5 more per ticket if purchased at the door)
Contact: 801.581.6961
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Pioneer Theatre Content Advisory: Contains mild adult themes, moments of violence, and some alcohol use and smoking. Recommended for ages 13 and up.
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