For anyone who is a fan of a murder mystery, this adaptation of Agatha Christie's 1962 novel, The Mirror Crack'd, by Rachel Radcliffe will not disappoint. The play is a homage to Christie's ability to tell a story that hooks us from the start. The audience were not disappointed with this cleverly crafted script, which gives us unreliable characters, shocking rug pulls, and gasp-inducing plot twists—all woven together seamlessly.
The play is set in the 1960s in the sleepy village of St. Mary Mead. We join the story following a party at Gossington Hall, where Hollywood movie star Marina Gregg (Sara Crowe) is making a much-anticipated comeback after a prolonged career absence. She is making a film locally, directed by her husband, Jason Rudd (Jordan Taffe-Watson).
The party is for the villagers, but there is an uninvited guest: her co-star and rising starlet Lola Brewster (Saskia Strallen). Miss Jane Marple (Lisa Goddard) missed the event due to being laid up with a sprained ankle. She is alerted that something is amiss when her flustered home help, Cherry Baker (Elysia Showan), arrives, clearly wanting to get something off her chest. We later learn that she had been working at the party as a waitress. But before she has a chance to tell her great secret, Dolly Bantry (Annie Wensak), former owner of Gossington Hall, arrives to share the news of the murder of a party guest and adoring Marina fan, Heather Leigh (Jane Quinn).
Chief Inspector Dermot Craddock (James Mack) is soon rumbled for the real reason behind his impromptu visit to his aunt: Miss Marple identifies it as being the high-profile murder. She is quick to suspect that Heather Leigh was not the intended victim. A sprained ankle does not stop her sharp mind, and she is soon accompanying the Chief Inspector to the crime scene.
With the focus on Marina Gregg as the intended victim, Christie gives us a whole range of suspects who keep us guessing until the end as to who the real murderer is: her assistant, her husband, her co-star, and yes, even the butler.
The show opens with a dramatic tableau of the cast at the party before we are quickly plunged back into darkness to be instantly transported into Miss Marple's cottage. For a venue that does not have many of the benefits of a traditional theatre—including a curtain to reveal and hide set changes—The Mill delivers a show with dramatic staging. The marriage of Michael Holt's stage design and Jonathan O'Boyle's direction is one made in heaven. The set provides us with multiple locations in one with minimal need for scene changes, while O'Boyle's clever use of moving characters from the present into the action to create flashbacks works well and allows the scenes to flow seamlessly. Jamie Platt's lighting design helps define locations and set the atmosphere for each scene.
The production is brimming with comedy, and the cast members all have their opportunities to shine. Goddard as Miss Marple maintains all the wily characteristics of the character we have loved and known over the years, while making the role very much her own, gathering momentum and presence as the play progresses.
Crowe's portrayal of Marina Gregg emotionally unfolds throughout the play. Despite her wonderful costumes, she did not have the same imposing presence as some of the other characters, though this is perhaps down to the fragility of the role. While other characters' larger-than-life personas were more memorable, this is very much a show where everyone shines. And for a murder mystery, there is a surprising amount of humour.
Newcomer Elysia as Cherry gave an impressive performance as the chaotic home help; with her malleable expressions and little bows, she had the audience beguiled and laughing. Personally, I loved the exuberance and humour in the performances of both Wensak's portrayal of Dolly and Quinn's of Heather—perhaps due to the characters' familiarity, as we all know someone like them! Again, Natalie Titchener's costume designs add to this production. Overheard discussions during the interval praised both the acting and the costumes—something that rarely gets a mention over coffee and ice cream.
We feel for James Mack, who gives a strong performance as the affable Inspector; despite his attempt to remain in charge of the investigation, he never is. Saskia's portrayal of Lola is spot on, though I feel the script limits the depth of the role and misses showing us some of the setup of the rivalry between her and Marina.
Linda Kirton as Marina's PA, Ella Zielinsky, and Martin Raxpopov as her fixer-cum-butler, Giuseppe Renzo, both give strong performances that leave us unsure of their true characters and allegiances.
I must not forget the wonderfully understated performance of Paul Kemble as Cyril Leigh, the widowed husband. Having minimal dialogue did not diminish his stage presence; the overlooked husband stole moments on stage with just a look. His character also echoes several themes throughout the play regarding class and the way older people are overlooked.
Despite the tragic conclusion of this play, we are left sympathetic to all the characters.
What adds to The Mill's unique offering as a venue is the fact that this is a theatre-and-dinner experience. With a change in catering under Executive Chef Sean LeRoux, the food was as impressive as the show. The Mill is also offering a few show-only events for those who do not wish to—or whose logistics do not allow them to—dine.
When Miss Marple asks film director Jason Rudd if Marina is scared of anyone, his response is: "Only the critics, but they don't murder people, only your career." It was clear from the audience's reactions throughout the show that all the careers in this production are safe. I have only praise for this adaptation, and it is a shame that more of The Mill's brilliant productions do not tour.
It runs until 31st October 2026
Review: Claire Hogan Photo: Pamela Raith