“DIAL ‘M’ FOR MURDER”

Press, Volume XC, Issue 27312, 31 March 1954, Page 3

“DIAL ‘M’ FOR MURDER”

THE STAGE

COMPACT* BRITISH THRILLER

The suspense in “Dial ‘M’ for Murder” is like the sensation « np might feel when watching an unsuspecting diver struggling towards an octopus. Frederick Knott’s world - acclaimed thriller, which opened in Christchurch last evening in the Theatre Royal, kept the audience on the edge of their seats with an ingenuity and workmanship that local audiences have only seen in recent years in Stanley Kramer and Alfred Hitchcock films. The play moves swiftly, efficiently, and impartially, like a machine. . ■ . ' , „ Fortunately “Dial ‘M for Murder stays on the surface. The spectator is not drawn into the killer’s whirlpool and asked to be sympathetic with any hidden motives. Yet it is difficult to feel the horror of Tony Wendice’s plan to manoeuvre a schoolmate, who has a colourful past, into the position of hired murderer of his wife. Driven by jealousy and greed, Tony, a former Wimbledon star, outpoints his opponents with such ice-cool nerves, and sure, quick, agile actions that even to the final game in the murder he earns applause of admiration from the tense gallery. But the plan of attack goes wrong ’in a peculiar way, and eventually Tony stumbles to Inspector Hubbard, always correct, plodding and relentless. His partner, Max Halliday, sends nibbling shots to Tony and helps in his collapse. Each player contributes a fair share to make the play compact and move it along at a sizzling pace. As Tony, Hector Ross, gives style to this ambitious, ruthless and unsympathetic character. He builds up the picture of the murderer by proxy with swift, sure precision. He-is seen as a character of changeful moods and astoundingly glib in his own defence until the weight of the revelations of his doubledealing becomes too great to withstand. Ellis Irving impressed as being of the type of inspector that New Zealand audiences have come to know. He moves with slow footsteps, pondering massively over every clue, and striking now and again the touch of humour, even Where murder is involved. that most New Zealanders expect. The mannerisms might seem stock, but-they are certainly necessary. Captain Lesgate, Tony’s school friend and a leader of vice since the day he walked, is played in the right manner by Grant Taylor. As the murderer, stocking in hand entering the- Wendice flat, he struck a realistic and chilling blow to the audience. The lights were low and Lesgate looked like a monster. Tony’s unsuspecting wife, Sheila, is played appealingly by Pamela Page, although the clarity of her diction seemed strained in the opening minutes. John Lee, as Max Halliday, the mystery-story writer back from a year in New York, is subdued alongside Hector Ross, yet he gives the necessary punch to his role. “Dial ‘M’ for Murder” is no “whodunit,” but the audience becomes part of the play by always wondering what will go wrong with the murderer’s careful plans. The plot is sound and the five players know their business. John Casson’s production is excellent entertainment.