The Shaw Festival has a long history of producing classic mysteries by such luminary playwrights as Sir Arthur Conan Doyle, Agatha Christie, Patrick Hamilton and J.B. Priestley, among others. Recent productions of Witness for the Prosecution and Gaslight have captured the thriller genre with assured direction and uniformly strong performances.
The current production of Sleuth, at the newly reopened Courthouse Theatre, brings Anthony Shaffer’s ingenious script of psychological games, deception and dark comedy into new light, proving that after 56 years, the play can still have appeal. Careful thought has gone into the intimate set design, costumes and serviceable lighting, resulting in a solid, neatly crafted production. Unfortunately, the performances of its two lead actors are notably unbalanced, and the lack of chemistry and connection between them prevents the audience from fully appreciating the cat-and-mouse rivalry at the heart of the play.
The intriguing plot centres on a wealthy mystery writer who invites his wife’s lover to his country estate in Wiltshire, where their encounter develops into an increasingly dangerous series of games, manipulations and deceptions, punctuated by Shaffer’s dark humour. The play premiered in London’s West End in 1970 before transferring to Broadway the following year, where it won the Tony Award for Best Play. It has since received three film adaptations.
Though the set lacks the depth one might hope for in evoking a sprawling manor house, designer Sim Suzer makes the most of the Courthouse stage’s limitations, transforming the small space into a cozy, inviting and well-balanced sitting room and library. A central fireplace, flanked by armchairs, provides a natural focal point around which much of the action takes place. The props are detailed, varied and wonderfully eccentric—just like their owner. Kudos for carrying the chessboard theme throughout, from the floor tiles to the games and tabletops. And that animated sailor doll definitely ups the creep and unease factor.
Lighting designer Mikael Kangas provides a warm wash across most of the set, though some of the photographs and knick-knacks on Andrew’s desk, as well as the cabinet with the laughing doll, are difficult to see because they are left in shadow.
Joyce Padua costumes the men in smart suits and coats suitable for the English countryside, but the period styling feels muddled. If it’s the 1970s, Andrew’s three-piece green suit feels surprisingly contemporary, while Milo’s blue pinstripe suit has a distinctly 1990s feel. Inspector Doppler’s dishevelled trench coat and rumpled sweater, however, are an excellent choice for a curmudgeonly cop.
Though director Peter Fernandes does a respectable job staging the action and keeping the pace snappy in the first act, things tend to drag in the second. This is where the imbalance between the two leads becomes increasingly apparent.
Fundamentally, this is a play built around a battle of intellect and ego, with the shifting balance of power between its two characters providing much of its suspense. For that dynamic to fully register, the actors need to be evenly matched and able to establish a compelling connection with one another.
Patrick Galligan is a veteran actor with 23 seasons at the festival under his belt. He’s known for delivering outstanding performances, and this is no exception. From the outset, he is thoroughly convincing as Andrew Wyke, the manipulative and egotistical mystery writer. He brings an assured theatricality and psychological credibility to the role, making Wyke’s charm and menace eerily compelling.
By comparison, Sepehr Reybod’s portrayal of Milo Tindle, Wyke’s wife’s lover, feels less assured and nuanced, particularly in moments that demand greater emotional complexity. Reybod is credited as a “Christopher Newton Intern,” part of a professional training and mentorship program that provides opportunities for emerging theatre artists. His performance suggests an actor still developing his craft, and with greater experience, he has the potential to make a strong impression in future productions.
Overall, Sleuth is a solid, theatrical psychological thriller with a darkly comic undertone. Though the audience may feel as though they are participating in the characters’ elaborate game, there’s still room for the production to fully convince and cajole us into playing along.
Running time: Running time, approx. 2 hours with one intermission.
The production runs until October 9 at the Courthouse Theatre, 26 Queen St, Niagara-on-the-Lake, ON
For tickets, call the Box Office at 1-800-511-7429 or email shawfest.com
The Shaw Festival Presents
Sleuth by Anthony Shaffer
Directed by Peter Fernandes
Set designed by Sim Suzer
Costumes designed by Joyce Padua
Lighting designed by Mikael Kangas
Performers: Patrick Galligan, Sepehr Reybod, Philip Mayfield
