Tyrell Crews and Emily Dallas in Dial M For Murder, mounted by Theatre Calgary in 2025. Crews and Dallas reprise their roles in the Arts Club Theatre Company and Theatre Calgary co-production now playing at the Stanley until March 8. (photo by Trudie Lee for Theatre Calgary)
What do a latch key, a handbag, a compromising letter, two blackmail notes and an unexpected telephone call have in common? They are the primary clues in what is supposed to be the perfect murder – you know, the one you get away with. This is the premise for the Arts Club Theatre Company and Theatre Calgary co-production of Dial M for Murder, now playing at the Stanley.
Frederick Knott’s 1952 play was adapted for cinema early on, with the 1954 thriller starring Grace Kelly and Ray Milland directed by the master of suspense himself, Alfred Hitchcock. About six ago, playwright Jeffrey Hatcher updated the story to add a contemporary and surprising twist. While the 1950s London setting has been preserved, giving it that quintessential British vibe, the cheating wife’s lover is now a woman – definitely a taboo to audiences of that era. Hatcher has also injected comedic moments and witty bon mots into the script, in contrast to the more noirish original.
This is not a murder mystery where the sleuthing detective ultimately exposes the culprit. In this iteration, we know from the beginning what the plan is, how it is to be executed and by whom – the only question is whether the perpetrator will get away with it.
It all starts when Tony Wendice (Tyrell Crews) discovers that his heiress wife, Margot (Emily Dallas), is having an affair with murder mystery writer Maxine Hadley (Olivia Hutt). Since he married Margot for her money, not love, he has no qualms about doing away with her to inherit her fortune. However, he does not want to do the dirty deed himself, so he blackmails a distant acquaintance from his past, Lesgate (Stafford Perry), to carry out the hit. Unfortunately, the plan backfires. Enter Chief Inspector Hubbard (Shekhar Paleja) of Scotland Yard, who, with Maxine’s assistance, attempts to recreate the murder scene to ferret out the mastermind behind the plot. But will they succeed?
Tony is front and centre of the narrative. At the beginning, he is in full control of the situation, callously planning the murder with painstaking attention to the details. He takes the art of manipulation to new heights. As his plan starts to unravel, we see the layers of his confidence peel away.
Crews commands the role of Tony and Perry ably portrays Lesgate’s nervousness and angst in confronting Margot with the news that he is about to kill her. Dallas, who portrays Margot in a rather subdued fashion initially, is sublime in her portrayal of the hunted housewife, taking the audience on a melodramatic roller-coaster ride of emotions. Flamboyant Hutt infuses the character of Maxine with intelligence, charm and sleek sophistication, and comes across as the smartest person in the room.
It is a testament to the abilities of these actors that such a small cast can pull off the highs and lows of this psychological thriller. They are assisted in this feat by a talented design team, including Jewish community members Itai Erdal, whose pinpoint lighting directs the audience’s attention to significant clues during scene breaks, and Anton Lipovetsky, whose sound design increases the suspense.
Then there is set designer Anton deGroot’s revolving turntable stage. All the action takes place in the Wendices’ sparsely furnished drawing room, which slowly and imperceptibly moves back and forth, providing the audience with different perspectives of the action and emphasizing the fluidity of the story. Even the walls and windows move, providing additional layers to the puzzle.
Jolane Houle’s costumes capture the essence of the stylish 1950s, elegant frocks for the ladies and tailored suits for the gents, all with colour palettes ranging from brown to blue to green that change with Erdal’s lighting. The ladies are perfectly coiffed and made-up à la that glamorous era. Jillian Keily directs her crew well.
This dialogue-dense production requires the audience to pay attention and focus on the various subtle clues that are dropped to determine if indeed Tony gets away with his deception and betrayal. It’s a cat and mouse game at its finest.
Dial M for Murder runs to March 8. For tickets, go to artsclub.com or call 604 687-1644.
Tova Kornfeld is a Vancouver freelance writer and lawyer.
