Dial M for Murder - 9 out of 10
Galleon Theatre Group
TICKETS: https://marion.online.red61.com.au/event/318:820/
Dial M for Murder is a suspense thriller that began as a
stage play by Frederick Knott in 1952 and later adapted by Alfred Hitchcock
into the 1954 film starring Grace Kelly. Regardless of medium, they share the
same central story: a husband devises a murder plot against his wife, but the
plan unravels in unexpected ways. It is a tightly constructed thriller, built
for stage suspense, with much of the tension coming from dialogue, timing, and
the limited setting. The plot follows Tony Wendice, who tries to arrange his
wife Margot’s murder after learning of her affair, but the attempt goes wrong
and he tries to frame her instead.
Beginning with the biggest wow-factor of Galleon’s
production: Director and Production Designer Warren McKenzie has convincingly
chosen to pay homage to Hitchcock through presenting the set, costumes, props,
lighting, make up, and set dressing in a black and white/grayscale tone. Apart
from one dress and necklace worn by Margot (Genevieve Hudson), the visual
language remains strikingly monochrome throughout, creating a strong sense of
style and cohesion. Post-performance, there was a buzz about the relevance of
this being the singular use of colour throughout the entirety of the play, with
many interpretations and theories attached to it, which only added to the
production’s impact and generated welcome discussion.
Calling the above the biggest wow-factor doesn’t detract
from the wow factor of the cast. With a strong cast of five, they work
effortlessly together to ensure the heavily dialogue-driven production went off
without a hitch. The ensemble has a strong understanding of pacing and rhythm,
and each performer contributes to the mounting tension in a way that feels
controlled and assured.
Joshua Coldwell delivers a Tony Wendice that is controlled,
polished, and deeply unnerving. He captures the character’s smooth charisma and
calculating intelligence with precision, making Tony’s polite exterior feel
increasingly sinister as the performance progresses. Coldwell never overplays
the villainy, instead allowing the character’s menace to seep through, always
attempting to be the smartest person in the room through small shifts in tone
and timing, keeping the confidence razor-sharp throughout. It is a performance
that relies on subtlety rather than excess, which makes it all the more
effective.
Patrick Clements brings warmth and clarity to Max Halliday,
giving the character a grounded, intelligent presence that balances the
production’s darker tensions. His performance has an easy assurance that makes
Max feel genuinely credible as Margot’s lover and as the character who slowly
starts to sense that something is wrong and inevitably helps save the day.
Clements handles the character’s transition from affable visitor to quietly
determined investigator with subtlety, never forcing the shift. The result is a
Max who feels observant, sympathetic, and quietly essential to the story’s
momentum.
Genevieve Hudson gives Margot Wendice a strong emotional
core, shaping her as far more than the victim at the centre of the plot. She
balances vulnerability with intelligence, allowing Margot’s shock, fear, and
resilience to unfold in a way that keeps the audience invested. Hudson’s
performance is especially effective in her accent work and in the moments where
Margot’s composure is tested, maintaining a believable human fragility without
losing the character’s inner strength. She brings just enough elegance and
tension to the role to ensure Margot remained compelling at every turn.
Gary George’s Inspector Hubbard is a great addition to Act
Two in the production, bringing calm authority and sly wit to the role. He plays
the detective with unassuming ease, letting Hubbard’s sharp instincts reveal
themselves gradually rather than announcing them too early, giving the
character real dimension: part practical investigator, part quietly formidable
presence who never seemed rushed, even when the truth was abound. A real Agatha
Christie character. George’s performance adds welcome texture and lifts every
scene he appears in, giving the second act a steadying presence that helps
drive the suspense toward its conclusion.
Simon Lancione gives Captain Lesgate a strong entrance and
equally strong performance throughout Act One until his untimely demise,
becoming memorable in a comparatively smaller but crucial role. Lancione gives
the character just the right mix of nervousness, opportunism, and
vulnerability. He suggests a man who is already compromised before the action
properly begins, although we don’t know it until the reveal, which makes the
character’s involvement in Tony’s scheme both believable and unsettling.
Lancione’s work is efficient and effective, with enough tension in the
performance to make Lesgate feel like a genuine part of the production’s
machinery of suspense.
On the technical side, there were minor cue issues with the
lighting. However, the lighting design and incorporation into the practical
elements within the set were effective. The sound effects were aplenty, giving
additional space to what was going on outside of the stage setting; however,
there could have been more variation in repeated sounds for different
characters and their motivations for exiting or entering. Special mention must
go to the uncredited voice extras that added depth and atmosphere to the
soundscape.
Unfortunately, there was an incident where the backstage
crew undertaking the set change during Act Two halted the pace of the
production. While these moments did not derail the overall experience, they did
briefly interrupt the tension that had been so carefully built up to that
point.
This is a sharply acted, confidently staged thriller whose
ensemble keeps the suspense taut from beginning to end.
- Andrew Broadbent
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