'Dial M for Murder' - My Review

"Tony Wendice has married his wife Margot, for her money and now plans to murder her for the same  reason. He arranges the perfect murder. He blackmails a scoundrel he used to know into strangling her for a fee of one thousand pounds, and arranges a brilliant alibi for himself. Unfortunately…the murderer gets murdered and the victim survives. But this doesn’t baffle the husband: He sees his hireling’s death as an opportunity to have his wife convicted for the murder of the man who tried to murder her, and that is what almost happens."

I am not a fan of old movies; I have seen some old movie musicals, but not much else. Therefore, I had never seen the movie version of Dial M for Murder directed by Alfred Hitchcock. This play will keep you on the edge of your seat and guessing until the last minute. It is not blood and guts at all but more of a mental thriller. However, fair warning that Rob Richnavsky (our "Jesus" in ) served as fight choreographer so that no actors got hurt. The well-defined characters keep you interested, but you definitely have to pay attention.

Director Marilyn Olsen (who was wonderful as "Melissa" in her PSC debut in Love Letters earlier this year) described it as not so much a "who done it" as a "why done it." The director did a fine job casting the six actors and she told me that she insisted that they learn the dialogue as soon as possible. I was in awe of how many lines each of the main characters had to master, especially the lead role of "Tony," but master them they did.

The production features a mix of some PSC veterans and some newcomers. Jim Buffone (, ) was as great as usual in the role of "Max Halliday." This actor is comfortable in any role he chooses. John Cummings, father of Seussical's Bailey Cummings, was a good strong cop "Thompson" in his PSC debut. Chris Evans (, , , The Glass Menagerie) continues to impress me as an all around excellent actor. He embraced the lead role of the murderous husband "Tony Wendice" and the English accent that it required. Joshua Luszczak, with many credits at the New Zenith Theatre at NVCC,  played the scoundrel "Captain Lesgate" and was very convincing in the role. The lovely Kate Samberg (, ) held her own in this cast of men as the victim "Margot Wendice."  She had the proper British accent down as well. Daniel Willey, who I had last seen in as an Irish cop, is here, well, an Irish cop "Inspector Hubbard." He plays it very well.

Since the director had described the play as a bit quaint, dated and kitsch, I was not sure how the set would be decorated by Claudia Duhamel and Lori Poulin.  Turns out that it is an eclectic mix of knickknacks, trophies and period-appropriate furniture.The props by the team of Laurie Phillips and Lori Poulin included some interesting finds. The costumes by Ed Bassett were also perfect for the fifties in England, and included many changes. The lighting by Sharon A. Wilcox added to the drama, as did the appropriately mysterious incidental music. The addition of a chess board to the action was genius.

Kudos to everyone involved in this excellent production.