... Mercury who-dunmt very well COLCHESTER The Hollow IT'S RARE to be able to describe a production of an Agatha Christie play as refreshing, but that's what Mercury Theatre director, Michael Winter, his design team and his excellent cast achieved with The ...

... gin fizzes. You will gather from this that there has been a Murder on the Nile and we are in the company (yet again) of Agatha Christie. She seems not to be the draw she once was. Not only was the Friday night Christie audience at the Palace somewhat thinner ...

... along the way, in this latest revival. The attractive thing about this now old warhorse of a rep play is that, unlike Agatha Christie, it is all perfectly feasible. A somewhat weak willed husband is mourning the death of his rich wife. He is a little more ...

... that unfolded by Michael Sloan has seldom been seen on a London stage. Today we hardly expect thrillers to follow the Agatha Christie dictum of playing fair by the audience. We sit back and patiently await the next twist of plot and character, like a ride ...

... Whitman is a transvestite docker and Michael Higgs is a Jewish gay about to become a Benedictine monk. This alternative Agatha Christie is fast and very funny, with Sherman's deadpan dialogue relishing the divine idiocies of psychobabble. All the char acters ...

... This was an excellently thought out performance of the type of whodunnit popularised on this side of the Atlantic by Agatha Christie. Liberally bespattered with red herrings, motive and opportunity for the crime ascribed to several of the protagonists ...

... it hard to recognise themselves in the distorting mirror of the stage, though he thinks Scotland Yard should laurel Agatha Christie for creating sleuths who can count up to 12 and are able to read large print. The author has. of course, his favourite ...

... whose reputa tion has been built on comedy. But here we have another dimen sion of Ayckbourn who exudes all the skills of Agatha Christie as he holds his audience in the no inter val story of a man's determination to discover the truth about his daughter's ...

... declines in inter est as the emphasis shifts from an analysis of 'why' to a search for 'who', and towards the end an Agatha Christie tone creeps in. It doesn't destroy the value of much that the play contains but it does rob it of some of its strength ...

... the end of And Then There Were None, the Palace Theatre audience roared with laughter, which makes me wonder how long Agatha Christie will continue to be the draw she is. Christopher Dunham s pro duction has a strong period flavour to it. Helped considerably ...

... home of the leading character Lord Whitfield, one of those self- made millionaires often encoun tered in the tales of Agatha Christie, on one of which this play- is based. Unfortunately, it does not have Poirot himself, a man who, for all his irritating ...

... lime continuum theory in a way that might surprise even him self. Curtain up on a blood-curdling scream and we're in Agatha Christie country where nothing is quite what it seems. The scream is the climax of a radio play with the whole cast gathered round ...