Dialing M for murder and some missed opportunities..
Seven decades after its first release, Fredrick Knott’s 1952 Dial M for Murder has been brought to life by Oxford University’s up-and-coming Broken Wheels Production Company. A timeless masterpiece, the tale of unfolding suspense and thrill follows a straightforward plot delving into the extramarital dealings of Tony Wendice, skilfully portrayed by Mansour Timur Askar who portrays the character with a fidelity to the source material. Tony Wendice is a former pro-tennis player with the insidious intention of having his affluent wife, Margot Wendice, murdered in order to obtain her finance. Margot, played by Marianne Nossair, is as one would expect from a 1950s playwright; archetypically treated as a tool and subject in Tony’s scheming rather than a woman in her right.
The stage exuded passion and a sincere commitment to delivering a compelling performance. Yet, in the confines of an intimate venue, the actors encountered additional challenges. With eyes engaging them from mere metres away, their focus points were limited thus tempting the actors to sporadic character breaks in certain moments. Despite occasional line fumbles, the script was delivered in a manner faithful to the original. The delivery was, at large, fluid, however, it felt disjointed and the connection between the characters could have been further enriched. The direction and utilisation of the space hinted at differing perspectives among cast members, which became apparent and hindered their ability to perform in a more cohesive manner.
The various attempts at modernisation were positively refreshing in an effort to create a sense of innovation. One attempted revision was the hinting of Margot’s previous same-sex relations. While notably encouraging to see, this felt unnecessary and did not converge with the script. It should go without saying to either stay true to the original and maintain these merits or make alterations across the board to ensure a more rounded narrative. An additional stride was the re-gendering of a commonly male casted role, Captain Lesgate, or C.A Swann. This was depicted by Anna Maria Iaramboykov and was executed well, demonstrating aspiring qualities. Another notable performance was given by Hal Gavin who played Chief Inspector Hubbard and was on the mark with his lines and withheld an outshining stage presence and a strong projection. That being said, the re-gendering of this character would have been far more compelling and up-to-date with modern-day values.
With strong regard to their status as an amateur production company, they correctly used a minimal setup for the stage. The decision to allow the viewers to fill in the blanks with their imagination was a wise and safe choice. The props enhanced the viewing experience and were used effectively, helping propel the audience’s engagement. It is noteworthy to take more time and care with their usage, employing them in a more natural and realistic manner, as opposed to opening books to the right page which only presents unrealistic expectations. Additionally, the use of sound effects were minimal, and could have been more used to adequately augment the experience and to stimulate the viewers interest.
This performance was full of heart. It was ultimately let down by the lack of connection between characters, but also the scripts discordance with the minor alterations to the piece’s framework and ethics. With improvements in guidance, direction and background knowledge these cast members will can surely fill the shoes of the roles more than comfortably. They all hold capable abilities, giving them strong chances for their future in the challenging world of performing.