Drury Lane delivers stylish revival of classic suspense thriller ‘Dial M for Murder’
“Dial M for Murder” — 4 stars
“How would you murder me?”
That prophetic query, uttered by a wealthy woman to her former lover, commences “Dial M for Murder,” Jeffrey Hatcher’s 2022 adaptation of the psychological thriller in a stylish, smartly acted and superbly designed revival at Drury Lane Theatre.
Hatcher’s methodically plotted piece of theater noir about a grasping, jealous husband plotting to kill his wealthy, unfaithful wife reimagines Frederick Knott’s famous play, which premiered in 1952 on the BBC. A West End production opened in London several months later, followed by a Broadway version in October of that year. Alfred Hitchcock’s film version starring Grace Kelly and Ray Milland premiered in 1954. It was the first of several TV and big screen adaptations, which include 1998’s “A Perfect Murder,” starring Michael Douglas and Gwyneth Paltrow.
Hatcher kept the 1950s setting, but raises the stakes by introducing a same-sex couple as part of the central love triangle in this taut examination of greed, sex, jealousy and revenge.
Suspenseful and slyly humorous, Hatcher’s version is also deliciously theatrical, referencing both directly and indirectly role-playing, improvisation, scene-setting and, in one fleeting but noteworthy moment, William Shakespeare’s “Richard III.”
The always-interesting Amanda Drinkall plays heiress Margot Wendice, a self-described “boring, conventional housewife” who is actually more savvy than she appears. She’s married to failed writer and serial philanderer Tony Wendice (played with smug charm and calculated narcissism by Erik Hellman). Tony works as a public relations flack for the company publishing the latest book by Margot’s former lover Maxine Hadley (Alexandra Silber, who wraps her character’s yearning in an acerbic shell), an American mystery writer in London for a promotional tour.
Tony blackmails Captain Lesgate (a cagey, opportunistic Ian Paul Custer), a disreputable college acquaintance, into killing Margot. When Tony’s plan goes awry and Lesgate ends up dead, the evidence points to Margot, who is arrested on murder charges by Jonathan Weir’s avuncular Inspector Hubbard.
“Dial M for Murder” has been described as a cat-and-mouse-game where characters shift from feline to rodent and back again, attempting to outwit and outmaneuver each other. Actually, the play consists of multiple cat-and-mouse games.
Director Adam Immerwahr’s staging reflects those shifting power dynamics between men and women and assailant and victim. In one scene late in the play, the men stand, looming above Margot and Max, who sit on the floor and couch respectively. In another, Tony asserts dominance with a kiss. Moments later, Max uses a kiss to express defiance.
Immerwahr also does a fine job sustaining tension, both dramatic and sexual, while also navigating the wry humor that punctuates the play.
The acting is strong throughout. But I fear the subtleties of Drinkall and Hellman’s performances in particular may get lost in this large theater.
The superb production values begin with set designer Paige Hathaway’s stately sitting room featuring a glittering chandelier and generous bar cart. Gold-trimmed, red taffeta curtains frame towering French doors and paintings in gilded frames hang on walls the color of money.
Composer Joshua Schmidt’s evocative music (ominous, mood-enhancing ostinatos and tremolos) and sound effects, coupled with Emma Deane’s atmospheric lighting (beams, shadows and one especially effective pinpoint spot), add a filmic quality to Drury Lane’s excellent production.
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Location: Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, (630) 530-0111, drurylanetheatre.com
Showtimes: 1:30 p.m. Wednesday; 1:30 and 7 p.m. Thursday; 7 p.m. Friday; 3 and 8 p.m. Saturday; and 2 and 6 p.m. Sunday, through Oct. 26
Tickets: $75-$150; dinner-theater packages available
Running time: About 2 hours, 10 minutes, with intermission
Parking: Free in the lot
Rating: For teens and older; mature themes, sexual references, some violence