Bruce Randolph Nelson (Inspector Hubbard),Megan Anderson (Maxine),Tony Nam (Tony), and Beth Hylton ( Margot). Photo by Teresa Castracane Photography.
“Dial M For Murder,” by British playwright Frederick Knott, premiered both on Broadway and in London’s West End in 1952. The initial production, featuring Maurice Evans, Anthony Dawson, and John Williams, was adapted by the author for the screen in 1954 and directed by Alfred Hitchcock. The film featured Ray Milland, Grace Kelly and Robert Cummings. As it is considered a classic example of a crime thriller, it has been revived, remade, and adapted a number of times since for stage, film, and television.
…enhanced by an expert at stage adaptation and directed and acted by professionals who have spent years developing a tight-knit company offering Baltimore audiences exemplary entertainment…a true holiday gift!
Everyman Theatre is using the latest adaptation, written by Jeffrey Hatcher, first presented in 2022 at The Old Globe Theatre in San Diego. As in the original, the setting is the living room of the Wendice flat in London, 1952, but the main character of Max Halliday has been changed to Maxine Hadley, making the central love affair between two women. Mr. Hatcher explained in an interview: “By changing the gender of one of the characters, we found that it immediately upped the stakes for Margot, the play’s heroine, and made the secrets she’s keeping much more dangerous, especially in the context of 1950s upper-class London.” Maxine is a writer herself, so Mr. Hatcher was also able “to use Maxine to comment on the very kind of play the audience is watching: a stage thriller.”
The cast (Megan Anderson, Danny Gavigan, Beth Hylton, Tony Nam, and Bruce Nelson) exemplify the advantage of a regional theater having a resident company. As founder and artistic director Vincent Lancisi explains, “Our years of working together help us to lean into our individual strengths and history to dig into the roles and characters with a level of detail that results in rewarding experiences.” The plot revolves around a husband who married his wife for her money and is willing to kill her for it after discovering her affair. His meticulous plan involves blackmail, betrayal, and “gaslighting” (a type of abuse in which a person is caused to doubt their sanity or perception of reality). There are many plot twists, turns and changes to keep the audience guessing in this “cat and mouse” story.
The design team—Daniel Ettinger (scenic), David Burdick (costumes), Harold Burgess (lighting), Megumi Katayama (sound and original music), Gary Logan (dialects), Lewis Shawn (fights/intimacy), and Denise O’Brien (wigs)—have successfully and artistically created the play’s period. The set involves three proscenium cutaways of the house—living room, hallway, and staircase. There are French doors leading out to the garden. The set is beautifully decorated with period furniture, wall sconces, framed paintings and photographs. The various shades of blue and gray paint on the flats contrast with the bright orange rugs. The vintage designs of the women’s dresses, blouses, skirts, wigs and jewelry are colorful and interesting. I also enjoyed the details and little effects of the props—the crystal decanters on the bar, a serving tray for glasses with a polished rim, pillows on the sofa, and a coat tree in the hall. The total effect reflects the wealth and taste of Margot Wendice, the heroine and victim of the story. A very nice touch is the recorded music, and radio interview played during the blackouts between scenes. The original music adds mystery and suspense to the atmosphere. The small but necessary prop changes are quietly managed by stage manager Cat Wallis and crew.
This is a period crime thriller enhanced by an expert at stage adaptation and directed and acted by professionals who have spent years developing a tight-knit company offering Baltimore audiences exemplary entertainment. I have watched them grow substantially from the early days in Station North to their beautiful, spacious, and comfortable theater downtown. The staff is friendly, helpful and courteous and the atmosphere is like being invited to someone’s home. This production is a true holiday gift!
Running Time: Two hours and 15 minutes with one intermission.
“Dial M for Murder”has been extended through January 7, 2024, at Everyman Theatre, 315 W. Fayette Street, Baltimore, MD 21201. For more information and to purchase tickets, please call the Box Office at 410-752-2208, Monday through Friday, 10 am-4 pm and Saturday, 12 noon-4 pm, or go online.
