DIAL M FOR MURDER - THEATRE REVIEW (UK Tour)

Performance Reviewed: Tuesday 26 April (Press Night)

An audience going in to watch Talking Scarlet’s new production of Dial M For Murder is going to be divided into those who have seen the original 1954 Hitchcock-Grace Kelly movie classic or one of it’s numerous stage and screen revisits, and those who haven’t. It’s an important point to kickstart with - those familiar with the source material are likely to find here an enjoyable, familiar, well-acted revival of a perfectly intriguing drama-thriller, but the experience as a whole will likely lack the punch and flair that the central story still offers to the uninitiated.

Of course, the same can be said of practically any such show of its type, and the likes of The Mousetrap seem to suggest good theatre is able to defy any suggested law of diminishing revisits in murder / mystery genre fare. Yet nevertheless, Dial M for Murder is likely to be most enjoyable to those seeing it as originally intended - with it’s surprises and twists left unspoilt. 

Tony and Sheila Wendice (Coronation Street’s Oliver Mellow and Hollyoaks’ Terri Dwyer) are welcoming Max (Marcus Hutton), an acquaintance of Sheila’s into their home a year after he left to become a crime writer for Television over in America. As the measured, exploratory first Act gradually unravels, secrets unfold surrounding all three of this core trio of characters, also coming to eventually involve seeming stranger Captain Lesgate (Jolyon Young) into the mix. 

"What follows is not so much a 'Whoddunnit?'

as a 'Will they get away with it?'... the audience are

left with that wonderfully compelling frustration

of knowing exactly who the wrong 'uns are."

What follows is not so much a ‘Whoddunnit?’ as a ‘Will they get away with it?’. Naturally, inferring too many plot details would ruin it all, but a chain of events are put into motion that don’t quite go according to plan. Secrets are revealed, the body count begins to rise, and it all gets rather messy for an otherwise perfectly pleasant 1950’s Maida Vale front room. And as the situation turns increasingly more complicated and unexpected, the audience are left with that wonderfully compelling frustration of knowing exactly who the wrong ‘uns are.

The original Hitchcock classic isn’t regarded as his finest work by any means, but his pedigree of subverting audience expectations and the norm (put to now-iconic use, for example, in that shower scene from Pyscho) is almost in play from the off, and it does make for an evening of genuine intrigue and uncertainty, and not - as mentioned - for the usual reasons of trying to whittle down a suspect or two. 

If the tension lies, then, more in waiting to see if and how the truth will out, then Dial M does a mostly effective job of drip feeding the developments and keeping the audience second-guessing. It’s second Act remains a trifle overlong - there are a few too many visits back and forth to and from the central living room locale that it’s hard to not imagine could have been economised on - but the arrival of John Hester’s supremely enjoyable, sardonic Inspector Hubbard injects some welcome levity into proceedings.

"Mellor is genuinely impressive; slipping into

the smooth-talking charm and debonair

confidence of his Tony with real relish."

What this latest incarnation of the piece does boast is a game cast who do a solid job of selling the various incredulities and surprises the plot hurls our way. Chief amongst these is Mellor, who, along with the highly entertaining and watchable Hester, gives the strongest performance of the company. Mellor is genuinely impressive; slipping into the smooth-talking charm and debonair confidence of his Tony with real relish, showcasing a real kaleidoscope of different character beats as the show progresses, and in places surprisingly - yet very welcomely - blackly comic.

Dial M for Murder remains a compelling watch, even through all of it’s retreads and reimaginings. Yes, those unfamiliar will likely reap the most from it’s somewhat unconventional approach to the genre, but even those who know it’s twists and turns will likely be reminded of what an interesting, character-driven piece it continues to prove itself to be. Mellor is a real highlight, and gives a charming, confident central performance that carries the piece, and is worth admission alone, but in truth anyone with even a passing fancy for a spot of Hitchcock-ian intrigue and murder should head straight to their 1950’s telephones.

Dial ‘B’ for Box Office, and treat yourself to one of the genre’s most enduring slices of suspense.

RATING - ★★★

DIAL M FOR MURDER is running at the Wolverhampton Grand Theatre from Tuesday 26th through to Saturday 30th April 2016.

CLICK HERE for more information on the show's run at the Grand and to book your own tickets!

Alternatively, telephone the theatre's Box Office direct on 01902 429212.

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