Review: THE DAUGHTER OF TIME, Charing Cross Theatre
Photo credit: Manuel Harlan
We all enjoy a good murder mystery, especially when viewed from a safe distance in a comfy armchair. Film, TV and theatre offers a plethora of stories that exercise the little grey cells. For most of us, we are nothing more than armchair detectives, and our pronouncements of guilt or innocence have no implications in the real world. But imagine a real life detective laid up in bed and unable to investigate crime. How do they pass the time and keep their brain occupied? This world premiere is based on the novel written by Josephine Tey, which was voted number one in the British Crime Writer’s Association in the top 100 crime novels of all time.
Detective Inspector Alan Grant (Rob Pomfret) is in a restless mood. Scotland Yard's finest is recovering in hospital and brooding over the case that got away. His friend Marta Hallard (Rachel Pickup) visits him and suggests he work on a cold case to occupy his mind. She draws on her acting experience and presents him with a portrait of Richard III. Did he really murder the Princes in the Tower and seize the throne. Or was he misrepresented by history, the victim of a twisted plot engineered by enemies with secret agendas?
Grant is engrossed by the case and quickly assembles an investigation team around him. Nurse Ingham (Hafsa Abassi) gives him the lowdown on Richard's medical condition, while fellow officer Sergeant Williams (Sanya Adegbola) sets up an 'incident room' at his bedside. Nurse Darrell (Janna Fox) is a history buff and lends Grant a range of books to further his enquiries. Marta also enlists the help of Shakespearian actor Nigel Templeton (Noah Huntley), who happens to be playing Richard III in a current production. The ensemble is completed by whizz kid researcher Brent Carradine (Harrison Sharpe) who chases down every line of enquiry. Together, they aim to finally crack the case of Richard III.
The Daughter of Time has a familiar feel of Agatha Christie, stiff upper lips and quiet stoicism as our hero searches for the truth. M. Kilburg Reedy’s script bubbles with intrigue as Grant dissects the evidence and reaches a conclusion. Like Christie, there are moments of dry humour that break the tension. A fascinating period of history is explored in forensic detail and provides a compelling account of how power corrupts. At two hours forty five minutes (including the interval), the play never drags and fills the space with meaningful narrative. A history lesson woven into a detective story with a twist of humour is an irresistible combination – see it while you can.
**** Four stars
Reviewed by: Brian Penn
