Dial M For Murder Enjoyable From Curtain To Curtain Call

By Raquel V. Reyes

 Dial M For Murder, adapted from Frederick Knott’s original by Jeffrey Hatcher, Actors’ Playhouse’s Dial M For Murder is stylish and enjoyable from curtain to curtain call at Actors’ Playhouse at the Miracle Theatre until June 7.

Many people are more familiar with the 1954 Alfred Hitchcock film version rather than Knott’s 1952 play. Both center around an affair, blackmail, and attempted murder. The dial in the title is a reference to a phone call that supplies an alibi.

Hatcher’s 2022 update to the story is simple, fun, and intriguing. He has kept the setting in mid-century London, and the plot is nearly identical. The refresh for modern audiences comes by way of a few clever details. The heroine Margot’s love affair is no longer heterosexual. Keeping in mind the 1950s setting, the infidelity becomes more scandalous, and the blackmail even more of a threat.

Opening night’s performance was flawless. This reviewer is having trouble finding anything to critique about the production. Every detail has been considered, from the straight seams on the silk hose to the posture of the actors. It was like watching a Hollywood classic film come to life.

As the lights dim, a radio announcer delivers a cheeky message that the play is about to begin. The British voice warns the audience to pay attention to the details. A teasing piano melody prances through the air, stopping as a match is struck.

The lights go up to reveal Maxine “Max”, the American thriller author, exhaling a puff of cigarette smoke. Lindsey Corey’s Max is engaging from the jump. The brash, wisecracking dame could have easily slipped into a one-dimensional caricature, but Corey plays her with nuance and pizazz.

Margot (Mallory Newbrough) holds the audience’s interest equally. Newbrough brings a Bette Davis vibe to the British socialite role. Both women embody their roles so believably that when their relationship is shown to be more than friends, the kiss feels authentic and natural. Costume designer Ellis Tillman’s stunning dresses and wigs are the icing on top of the couple’s glamorous personas.

Margot’s husband, Tony, is played to perfection by Ben Sandomir. His physicality—his walk, mannerisms, and flair—feels like, in the best way, a study of Cary Grant. Sandomir gives Tony a charm that makes him likable despite his deplorable scheming to murder his wife. The audience glimpses the malice bubbling and seething under Tony’s cool surface a few brief times in the way he handles the ice pick when preparing drinks. This is either Director David Arisco’s brilliance or Sandomir’s or a combination of the two.

Countering Tony’s suave is shifty Lesgate. Daniel Llaca does a great job, especially during the energetic attempted murder scene. Kudos to clever staging by fight director Lee Sorko. The final character in this five-person play is Inspector Hubbard. Stephen G. Anthony gives the dubious-natured Inspector a combination of humor and kindness that is winning. Anthony shines in the role.

Scenic designer K. April Soroko, properties consultant Jodi Dellaventura, and property master Sam Sigler, have created a stationery set that delivers a restrained mid-century sleek modernism. The blue walls, leather couch, and smartly appointed wooden bookshelves give the living room of Tony and Margot Wendice’s London apartment a casual elegance.So

This cast—this production—this Dial M for Murder is a flawless gem. Go see it while you can.

Dial M For Murder through June 7 at Actors’ Playhouse at the Miracle Theatre, 280 Miracle Mile, Coral Gables. Performances 8 p.m. Wednesday – Saturday, 3 p.m. Sunday; Tickets $40-$95. Call (305) 444-9293 or visit https://actorsplayhouse.org/

Raquel V. Reyes is the author of the award-winning Caribbean Kitchen Mystery series and is president of Sisters in Crime

Lindsey Corey and Mallory Newbrough