The Mill at Sonning – until 31 October 2026
Reviewed by Marcia Spiers
3***
A clever script, effective humor and strong production values, though some performances may develop further during the run.
This well-known Miss Marple story by Agatha Christie has been adapted for the stage. Having seen another production a couple of years ago, I found comparisons inevitable. The action is set in a small English village, where Marina Gregg, a fading Hollywood star, lives with her younger and attentive husband, Jason Rudd. The mystery unfolds during a party at their new home, recently purchased from a local widow.
The set and lighting are cleverly designed to allow scenes to be replayed as the plot develops, revealing details the audience may not have noticed before. At times, however, the repeated action appeared to differ slightly from the original version; this may have been a deliberate way of reflecting changing perspectives. The scene transitions were flawless, with the movement of furniture, props and performers managed almost invisibly, allowing the audience to concentrate on Christie’s excellent story. The costumes evoked the period, although some were more convincing than others, and a couple of the wigs looked less natural.
The script makes effective use of humor despite the seriousness of the situation. Although the pace felt a little slow at first, it gathered momentum, and I found the second half more engaging.
Liza Goddard offers a more glamorous interpretation of Miss Marple than the television portrayals I remember, while retaining the character’s familiar watchfulness, particularly in her scenes with the recently widowed Dolly Bantry, played with warmth and assurance by Annie Wensak.
Other notable performances came from Jane Quinn as the starstruck and effusive Heather Leigh, James Mack as the slightly hapless Chief Inspector Dermot Craddock, Elysia Showan as the lively young Cherry Baker and Martin Razpopov as butler, Giuseppe Renzo. Lydia Kirton as Ella Zielinsky, Paul Kemble as Cyril Leigh, Saskia Strallen as Lola Brewster and Jason Taffe-Watson as Jason Rudd contributed effectively in supporting roles, with scope for the ensemble’s characterisations to deepen as the run continues.
As Marina Gregg, Sara Crowe presents a more restrained figure than the volatile Hollywood diva I had expected. The reactions of Marina’s husband and staff suggest that she can be difficult and unpredictable, but I did not always feel that volatility in the performance, even during her encounter with her two long-lost daughters, her shock on discovering what happened to her son or her emotional instability. A little more contrast between Marina’s public glamour and private emotional intensity might have made those moments more powerful; however, the restraint may also be an intentional interpretation of a woman whose composure conceals deeper turmoil.
Overall, this is an entertaining production, carried by a strong script, assured staging and a few engaging performances. The pace and characterisation were not always fully convincing on the night I attended, but these are elements that may strengthen as the run progresses. Agatha Christie enthusiasts should still find plenty to enjoy in this production.