Presented by John Frost for Crossroads Live
A tantalising tale, led by an ominous poem, that has the audience suspecting and questioning at every twist and turn
Reviewed by Carla Di Maggio
Comedy Theatre Melbourne
Until 23 Mar 2025
Tickets: https://andthentherewerenone.com.au/
Type: Crime, Whodunnit
If you liked: The Mousetrap, Knives out
From the 1939 novel, adapted by Agatha Christie herself, And Then There Were None introduces us to ten lively characters arriving on Soldier Island to enjoy a peaceful weekend away. An ominous vinyl at dinner time reveals that their stay is less savoury by their host, who knows intimate details about each of their pasts.
Robyn Nevin offers delightful direction; it was exciting to be close to the stage to appreciate the attention to detail seen through glances of characters while others were speaking. Sneaky snide remarks and suspecting glares from across the room add to the tension created. Effortlessly drawing attention to the ridiculous customaries of the upper class and the repetitiveness of greetings, Nevin shines in finding the comedy in the work.
And Then There Were None, John Frost for Crossroads Live (2025). Image by Jeff Busby
The opening scenes provide a thoroughly detailed introduction to all ten characters. Feeling at times like an endless cycle, the pacing and script loses the sparkle of an otherwise interesting concept. It isn’t until an ominous poem is brought to our attention regarding the fates of ten little soldier boys that we begin to see where the story might be going.
First, we’re introduced to the housekeeper and butler, played by Christen O’Leary and Grant Piro, who are standouts as two frazzled workers trying to navigate several new guests to an unfamiliar place. The duo start the play with an already nervous air, where there’s no one but themselves to greet guests at the door. They bring so much energy to the action and heightened the drama whenever they’re on stage.
Next we meet Philip Lombard and Vera Claythorne, played by Tom Stokes and Mia Morrissey. A couple of young, modern socialites: Philip has a naive ego and a strong sense of self, while Vera, a private secretary brilliantly reflects the emotional turmoil throughout the play. Jack Bannister soon joins this duo as the boyish and selfish Anthony Marston. The trio is playful and energetic, filled with youthful joy and recklessness.
These personalities are directly opposed by Jennifer Flowers, who stuns as the pious Emily Brent, Anthony Phelan as the distinguished and articulate judge Sir Lawrence Wargrave, and the plagued Dr Armstrong, played by Eden Falk. Nicholas Hammond gives a beautifully honest performance of General Mackenzie, often reflecting upon the beauty of his late wife and how he wishes to see her again. Rounding out the motley crew is Peter O’Brien’s William Blore, a dishonest man who injects intrigue into the plot undercover as a bad-accented South African coloniser.
The real star of this show is the brilliant set design and costume design by Dale Ferguson
The text itself lets the performers down I feel, and although the less-than-savoury details of the original play have been changed to reflect our current political climate, one cannot help but cringe at moments where attention is drawn to the archaic nature of the original text. The intermission felt strangely placed, as I noted several members of the audience looking about, waiting for confirmation. The original story (as a three-act play) uses the first break as the intermission. On the one hand, the break here felt needed as the audience has just sat through a large chunk of exposition, but on the other hand, the rules of the play had barely been set up to warrant it.
The real star of this show is the brilliant set design and costume design by Dale Ferguson. As soon as the curtains are drawn, we are accosted by a stark white modern home overlooking a skyline that barely reveals where the sea meets the sky. The sleek design is accompanied by classic contemporary touches which immediately transport us to a secluded resort. The costumes perfectly reflect the values of every character, from pious to modern, and also begin to reflect the play’s mood, as characters get in all sorts of states of (not very) undress. This is beautifully accompanied by Trudy Dalgleish’s lighting design; stark white and bright to begin, but soon plunging into shadows as the plot reveals more going on than what meets the eye.
And Then There Were None is a fun night of mystery and intrigue, with an unruly cast of characters and design that will blow your socks off!
Theatre Thought: Is the setting of a secluded island overused in whodunnits?
And Then There Were None, John Frost for Crossroads Live (2025). Image by Jeff Busby
Directed by Robyn Nevin
Set and Costume Design by Dale Ferguson
Sound Design by Paul Charlier
Lighting Design by Trudy Dalgleish
Starring Jack Bannister, Brendan Ewing, Eden Falk, Jennifer Flowers, Nicholas Hammond, Mia Morrissey, Peter O’Brien, Christen O’Leary, Chris Parker, Anthony Phelan and Tom Stokes
The production opens at Melbourne’s Comedy Theatre in February 2025 followed by Theatre Royal Sydney from May, His Majesty’s Theatre in Perth from June and Her Majesty’s Theatre, Adelaide from August 2025.
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