Review: THE MIRROR CRACK’D, The Mill at Sonning
Agatha Christie remains a global phenomenon even fifty years after her death and her stories continue to enthral and mystify readers, so The Mill at Sonning must have been delighted to secure rights to a new adaptation of the 1962 novel, The Mirror Crack’d, for their charming dinner theatre.
It is a title that will resonate with the venue’s traditional audience who enjoy the setting, an excellent two-course meal (which tastes so much better since they switched to waitress service) and intimate staging. Many will be familiar with the tale which has been seen on screen with Joan Hickson, Julie Mckenzie, and Angela Lansbury as the amateur sleuth, Miss Jane Marple, and Claire Bloom, Lindsay Duncan and Elizabeth Taylor as the protagonist, Hollywood actress Marina Gregg. The challenge for adaptor Rachel Wagstaff is that the plot confines her meddling detective to limited movement with a twisted ankle so she must solve the mystery of the death of Heather Leigh from an armchair in her cottage in St. Mary Mead. The adaptation cleverly uses a composite set designed by Michael Holt, and multiple flashbacks as the events are recalled developing the story.
The main scenes are in Gossington Hall where the murder takes place at a party, the nearby film studio where a film about Catherine of Aragon is being shot, and Jane’s cottage. Sometimes, we see two of the locations with the dialogue crossing between them. The design is very effective, distinguishing the different settings using simple projected light and drop-down images to dress the physical setting while the stage floor mixes the stone slabs of the hall with the wooden floor of the cottage. It gives the narrative a theatrical or even cinematic feel as the verbal reports to Marple are relived before our eyes and we get to see and hear the clues which Marple is told about. The title comes from Alfred Tennyson’s poem The Lady of Shalott, written in 1832, about a cursed lady unable to look into the outside world except through a mirror. When she looks out of the window, the curse is broken and “the mirror crack’d from side to side” but dies shortly after. In Christie’s version, Marple is physically trapped and must view the world through other’s recollections and Marina is emotional trapped by past events until the pivotal moment that cracks open the truth.
This adaption remains faithful to the book but adds plenty of humour, especially in the relationship between Marple (simply and effectively played by Liza Goddard), the slightly dim Chief Inspector Craddock (charming performance from James Mack) and Dolly Bantry, the former owner of the Hall (delightfully characterised by Annie Wansak). As Dolly notes during the evening, “is there anything Craddock has done to contribute to solving the mystery?” American Hollywood glamour is created by the fading star Marina (Sara Crowe capturing the spirit of an ageing Hollywood actress), her firth husband and film director Jason Rudd (a protective Jordon Taffe –Watson), and her co-star Lola Brewster (a glamorous but nervous Saskia Strallen) . The fawning Hollywood entourage are played by Lydia Kirton as secretary Ella, and Martin Razapopov as the mysterious Italian butler come fixer, Guiseppe. There is a lovely performance from the energetic almost frantic carer from Croydon, Cherry (Elysia Showan) while Jane Quinn recreates the critical moment of the story when Heather meets Marina multiple times. We must not ignore Paul Kemble as the victim’s husband in his frustrated appearances, which leaves you thinking about another Christie title, “why did they not ask Cyril?”. It is a first-class cast; each well characterised, with delightful interactions and using the auditorium stairwells to enhance the story telling.
They also manage to bring out an emotional warmth that is less well developed in other Christie stories. The death of Arthur, Marple’s young soldier friend executed for cowardice in World War I some 44 years before, adds depth to her story. The death of Craddock’s parent, which left Marple looking after him when he was a child, adds to their relationship. The mystery of Marina’s two lost adopted daughters provides her with an emotional subtext. And perhaps most of all the challenges of growing old and how we are seen by others comes through strongly. These themes add immensely to the heart of the story beyond being a straightforward detective story of who killed Heather Leigh.
The Mill at Sonning has raised its game in recent shows with excellent productions cleverly staged and directed using the intimate space well, and with fresh new adaptations that are entertaining and fun like the recent excellent Jack and Sarah, and clever improv elements of Sheer Madness. The Mirror Crack’d adds to this reputation with a really interesting line of plays to come through into 2027. It’s always been a pleasure to visit this theatre, but the standard of productions has constituently lifted, ensuring audiences are certain of an entertaining evening. It remains a unique enjoyable theatrical treat.
**** Four stars
Reviewed by: Nick Wayne
Photo credit: Pamela Raith
The Mirror Crack’d plays at The Mill at Sonning until 31 October, with further info here.