ADJUDICATOR'S ASSESSMENT

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                NAME OF SOCIETY                              Weston-super-Mare Dramatic Society

                NAME OF PRODUCTION                       Murder on the Nile

                VENUE                                               The Playhouse, Weston-s-Mare

                DATE                                                 21st May 1987

                ADJUDICATOR                                    Mrs. Ula Rigg

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Perhaps one of the best known of Agatha Christie's murder mystery plays. Strong characterisations that must not be overdrawn are necessary, plus a sense of period, suspense and split second timing.

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ARTISTIC PRESENTATION

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CHARACTERISATION

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1st and 2nd Beadsellers        Persistent, loquacious and Arabic.

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Steward                              Satisfactory

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Miss ffoliot-ffoulkes              An impressive figure, superbly costumed (and corsetted), with an articulate, rich voice, all of which were ideally suited to the part.

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Christina Grant                    Under her aunt's tongue and foot. Shy and easily impressed. Always willing to help. Nervous movement and light voice matched her characterisation.

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Smith                                 Looked a little too well groomed at first for a 'stage socialist', but with insight and concentration the part grew in stature from the time he recognised Pennefather towards the end of Act I. He remained involved in voice, mien and in touch with the plot until the end of the play.

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Louise                                Her resentful attitude smouldered from the start. Believable French accent. She came into her own in Act II Scene II when giving her dramatic account of Kay's murder. She was also good in the 'blackmail' scene with Simon in the last Act. Convincing stage fall when shot.

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Dr. Bessner                        His make-up was obvious and his costumes a little too immaculate for the role. One of the reasons why he was snubbed by Miss F/F is that he looks passe (and a foreigner). Voice and accent good but general characterisation not wholly satisfactory for the part.

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Kay Mostyn                        Sophisticated, wilful, used to having her own way. Used her voice imaginatively to cajole, enchant or berate whichever person she was addressing. a discerning performance.

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Simon Mostyn                    Gave the impression of being a weak character when in Kay's company. His best scene was with Canon Pennefather in Act I when he told him about Jacqueline de Severac and of his marriage to Kay. He did not quite sustain the physical pain of the shot to his leg. A capable portrayal of a difficult part.

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Canon Pennefather             He had taken a great deal of trouble to get his character right with his stooped figure, shambling gait, crumpled panama hat, old well-worn clothes and excellent make-up. His gentle voice had a parsonic ring, he knew exactly how to pace and time his lines (and movement). His acting had stature and meaning - the best performance of the evening.

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Jacqueline de Severac         A slight, sinister woman, with a feel for melodrama. Her strength was in keeping her emotions under control, her soft laugh was spine chilling. A well projected voice with a light, authentic accent.

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McNaught                          Could have made more of this small part.

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PACE AND TIMING             

Good in Act I, slowed down occasionally in Act II but picked up again in the final act.

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TEAM WORK

Worked together in accord throughout the evening.

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WARDROBE AND MAKE-UP

The wardrobe was good overall, the ladies were particularly well-dressed, especially Kay and Miss ffoliot-ffoulkes (although her night attire was a bit odd). Perhaps Smith could have looked less dapper and Bessner more seedy.

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The make-up was quite effective, apart from Bessner's which needed toning down, the Stewards, too, was a bit patchy.

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TECHNICAL PRESENTATION

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Lighting

Artistic, plotted with care and carried out imaginatively. The cyclorama was excellent, the gradual sunset brilliantly done. The 'waves' on the boats' side were a creative touch and the lamps in the salon charming.

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Props

Selected with care and with a feel for the period. (The old fashioned flit gun was a real find).

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Effects

The 'flown' screens before the 'curtain rose' were an original idea (perhaps they could have moved more smoothly). The 'Aida' music was the right choice but should have been faded out sooner at the beginning of Act I, it drowned the opening dialogue. The Muezzin calling, boat sounds and crowd noises offstage were very well balanced. The shots perfectly timed.

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Stage Management and Decor

The setting was superb, simple, modish and certainly conjured up the paddle steamer Lotus and the days of the 'grand tour'. The two acting areas - Deck/salon - on different levels were pleasing to the eye. The deck running behind the salon windows useful to the action. The decor was tasteful and 'decorative', the blend of colours was most subtle.

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OVERALL PRODUCTION/ACHIEVEMENT

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The garrulous beadsellers, bustle and boarding of the steamer Lotus was nicely captured. Miss f/f set the style and period accompanied by the naive Christina. Smith listened cynically to Christina's glowing account about Kay Mostyn's beauty. Bessner hovered expectantly, waiting to be introduced to the impressive Miss f/f. Louise, Kay's maid, gave the impression of being hard done by, followed in by the elegant Kay and Simon, her seemingly lovestruck husband, and with most of the 'pleasantries', introductions and shifting around of cabins over, the plot began with Kay's recognistion of her guardian and financial mentor, the ubiquitous Canon Pennefather, who studied Simon intently when Kay told him that they were married. The fanning of his face with his battered panama spoke volumes and not only about the temperature. The ensuing scene between the Canon and Simon was sensitively directed, the pace and timing good, particularly when Simon confirmed that the Canon had seen him with Jacqueline de Severac, the Canon's reaction was so thoughtful. The plot now began to take shape. (Smith casually listening-in U.S.R.). The Canon took up the point about Jackie being 'as poor as a church mouse' and made a mental note. When Kay re-entered there was a telling moment and switch in the plot as the Canon demanded £1,000 for his Jerusalem project. Kay's reaction to Jackie's entrance was very good, Simon's somewhat overdrawn (this fault improved as soon as Jackie left for her cabin). Kay was persuasive as she pleaded with her guardian to do something about Jackie's continual persecution. The Canon subsequently revealed Kay's pettiness and jealousy, his biblical quotes were meaningful, once again he made a mental note that Simon was at least paying for the honeymoon. Smith flung in another Red Herring when he told the Canon that he had seen him before and left him in contemplative mood to tackle Jacqueline. There was a telling contrast of personalities as the scene between the Canon and Jackie unfolded, the direction was good as she told the Canon she would not be dissuaded from her goal, to wreck Kay's and Simon's marriage. The production of the gun built up the tension as the boat 'pulled away' at the end of Act I.

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The opening to Act II was very 'English' with the imposing Miss f/f 'at home' to Canon Pennefather. The search for the scarf was meaningful. When the rest of the party returned the pace and timing flagged a little as Bessner spoke of the tour, Jackie's glance at Simon did not go un-noticed. Smith was at his rudest in his reference to Miss f/f and her poor dogsbody, Christina. The staging was also attractive at this point, each character scoring a point. Kay's affected tiredness was good and her legal doings with the Canon were well sustained. Smith's political interjection was strong, also Jackie's cry from the heart 'I can't hurt them anymore'. Bessner's reference to Kay's father also added to the plots intricacies. The altercation between Christina and Smith was convincing, Christina, ever helpful tried to console the bitter Jackie. The timing was crisp as Smith once more railed about Miss f/f. It was an astute piece of production placing Simon backstage, quietly playing cards and taking in all that was being said and done. Jackie's gradual tipsiness was very well done, culminating in the realistic shooting of Simon. The continuity was secure as the second scene began with Louise scuttling along the deck backstage and then appearing in the salon. Simon's injury looked genuine as Bessner tried to patch up his leg. Smith stood by taking in the situation. Louise's panic was lifelike as she described Kay's murder. The general pace slowed down again during the comings and goings of McNaught and Bessner. The Canon helped to pull things together again, aided by Smith, who timed his lines to Miss f/f skilfully. Louise's reaction was very good when the Canon asked her if she had heard anything at the time of Kay's death. When Christina and Jackie arrived Simon established his alibi but the pace needed to be a little sharper to keep the plot intact. McNaught should have been much more authoritative when he handed over the inquiry into the murder to Pennefather. Smith's long speech on his movements during the murder was good, he also sowed seeds of doubt about the Canon. When Louise was questioned she stressed the point about the bitter taste of the camomile tea. Simon's recoil from being touched was good, also his painful exit. The ending to this scene was neat, tight and dramatic as Smith and the Canon turned the plot in another direction.

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There was a thrilling start to the final act with Canon Pennefather handling the recovered scarf and gun. Bessner, too, was much more purposeful in this scene. Christina pitched her voice too high when she saw her Aunt's scarf but toned it down later on, her response to Smith's unexpected proposal was very good indeed. Miss f/f's indignation about the soiled scarf was comic and she soon put paid to the idea of Christina marrying a 'commoner'. Smith's exit line 'I'll be calling you Auntie yet' raised a laugh. The Canon's revelation about Smith's real identity was so well timed. Miss f/f took it calmly (just like Lady Bracknell) - a diversionary gem! Simon struggled in painfully but Jackie looked too fresh after her drinking bout the previous night. The question of Louise and blackmail was neatly pointed by Simon and Jackie, all within ear-shot of Pennefather. Louise was ready to co-operate with Simon, up to a point, then string him along. The movement, direction and timing as she was shot was excellent, but when the other characters came on, their response to yet another murder was a little stilted and Simon's exit a bit contrived. The Canon played another trump card when he told Smith that he knew he was travelling incognito. When the Canon was left alone onstage there was a swift return to the real mystery as he cleverly patched together the use that had been made of the scarf, gun and stained cloth, and dug out the spent bullet from under the settee. This was done with deliberation and meaning. When he faced Jackie with the truth the dialogue was crisp and clear. (Perhaps Jackie would have shown a little more nervous tension before trying to snatch the gun). Her confession was sensitively done, she was horrified about her actions and the deaths of Kay and Louise. There was a well held dramatic pause after Pennefather handed her the gun and a slow exit - words were no longer necessary as the curtain fell.

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A dramatically satisfying, stylish production. An entertaining evening at the theatre.                     Ula J Rigg