Alfred Hitchcock brought Frederick Knott's play, Dial M For Murder, to film, and it became an instant classic. The stage version, currently at Poway Performing Arts Center, under the direction Brent A. Stringfield, is even more fun. Designing the perfect murder has always been a mystery writer's greatest challenge, and developing the single fatal flaw his amusement. Tony Wendice (Christopher Armour), a retired tennis player, has developed the perfect plan to do away with his lovely and well-to-do wife. He enlists the aid of Captain Lesgate, a ne'er-do-well, to accomplish the task. Meanwhile Margot (Carolyn Wheat Koenig), his loving wife, has had a bit of the relationship with an American teleplay writer, Max Halliday (Steven Paine). Max still loves Margot. Of course, the crime goes awry in a macabre way. Now it is up to Inspector Hubbard, of the London Police Department, to unravel this tale of duplicity.
Armour's Tony is a cold, calculating schemer, showing absolutely no tenderness. Armour never lets up and even looks the part of a man driven by greed. Koenig's Margot is a woman who has had an indiscretion. She still harbors great affection for Max but is determined to keep her marriage and make it work for her and her husband. She exhibits the upbringing of a proper English lady yet is warm, with many tender moments. Paine proves varied in his role of Max, whose love for Margot is nicely portrayed. Ben O'Fahy could show a bit more emotion as the petty criminal pushed to become a cold-blooded killer.
Finally, enter Inspector Hubbard. Colbourn's version is a proper English homicide detective bent on clearing up some loose ends. His performance is flat and unmodulated, limited in emotion, strong when necessary - in other words, a good interpretation of the plodding detective.
Frederick Knott's script is crisp and doesn't feel dated, even though it is 50 years old. John Ivey's set is quite elegant, abetted by Rosemary King's highly competent scenic design and Chaike Levine's set dressing. Arlene Darden's costumes fit well with the `50s period. Also effective are Jim Millard's lighting and Lou Alliano's music and effects, which not only set the scene but underscore some of the action. Whether you've seen the film or not, be sure see this classic.
