FROM THE DIRECTOR

Agatha Christie’s plays always draw big crowds. I have tried to understand their success with mixed results. Some of the things she writes make no sense at all; many of the characters seem poorly constructed and there are holes in the plots through which one might drive the Orient Express. 

Nonetheless, we love her. We don’t seem to care so much about realism as drama and that, perhaps, is the key. Mystery killers knocking people off right in front of us is pretty dramatic. Bizarre assortments of characters with motive, means and opportunity — well, one of them did it for sure and we are jolly well going to stick around and find out who and how and why.

Perhaps we go home feeling safer having seen evil thwarted and good prevail at close hand. Perhaps we experience the drama with a little less trepidation because we know Agatha will ensure the safety of the innocent and possibly even throw in a laugh. 

I find her fun to direct; Agatha’s crusty characters invite all kinds of possibilities. I found this play several years ago and started pitching it to Rep because nobody stages it. Too late I studied the script and realised why. It’s a logistical nightmare. Scenes all over England and time travel no less.

Scott Hunt, Director