The Times of 29 October 1953 was enthusiastic in its praise stating, "The author has two ends in view, and she attains them both. She takes us now into the Old Bailey during an exciting trial for murder, now into chambers where the human reactions of the lawyers engaged in the case may be studied; and when the trial is over and there seems no more to be said, she swiftly ravels again the skein which the law has confidently unravelled and leaves herself with a denouement which is at once surprising and credible." The reviewer outlined the basics of the plot, commenting that Patricia Jessel's performance in the dock was "cold-blooded" and that she "makes a clear-cut image of hatred releasing itself suddenly from inhibitions which have become intolerable" and that Derek Blomfield was "equally good". The greatest praise was reserved for the climax: "Mrs Christie has by this time got the audience in her pocket. A timely intervention of a woman of the streets offering new evidence seems precisely what the trial needs and when it is resumed the evidence brings it triumphantly to a satisfying conclusion. It is only then that the accomplished thriller writer shows her real hand."[1]
Ivor Brown of The Observer said in the issue of 1 November 1953 that the play had, "all the usual advantages of Counsel in conflict, agonised outbreak in the dock, and back-answers from the witness-box. To these are added a considerable and ingenious appendix; the jury's verdict is only the beginning of a story that has as many twists as a pigtail." He summed up with a comment on the performance of Patricia Jessel, who "takes the title-part with cool efficiency. Whether she is snake in the grass or butterfly on the wheel playgoers must find out for themselves. There will be plenty doing that."[2]
Philip Hope-Wallace in The Guardian's issue of 30 October 1953 said of the ending, "Justice has been done and has been seen to be done. We nod approvingly, at which moment Mrs Christie says in effect "Oh, so you thought that did you?" and with an unforeseen twist of the cards lets us see how wrong we were. This is satisfying, but it makes criticism almost impossible; first, one must not give away the clue and second, one must reconsider whether those witnesses who seemed the most plausible were not, in fact, less good players than those who seemed somehow not quite 'in character'." Nevertheless, Hope-Wallace did admit that the opening night was "a great success" and stated that the play presented a "well-made, humorous, exciting case".[3]
Peter Franklin as Mr. Clegg, a laboratory assistant
Rosemary Wallace as The Other Woman
The cast list, to preserve the surprise ending in the final scene, lists one character simply as "The Other Woman". Until that final scene audiences are meant to believe that "The Other Woman" refers to an appearance by Romaine in disguise. This is to hide the appearance of the "other" Other Woman in the closing moments. In 1995 Mystery Writers of America included the play In their list of The Top 100 Mystery Novels of All Time.[5]
Broadway production
The play opened in the United States at Henry Miller's Theatre, New York City on 16 December 1954. It was produced by Gilbert Miller and Peter Saunders. Patricia Jessel was the only member of the cast to transfer from the London production.The Times reported on the success of the production in its issue of 23 December 1954 when they quoted a review in the New York Herald Tribune which said that the play should be, "A walloping success. The finish is done with such dedicated conviction, such patent plausibility, such respect for the medium as a thing of beauty that you are apt to find yourself gasping out loud."[6]
The film version, based on Christie's play, was released on 6 February 1958 and directed by Billy Wilder. Charles Laughton played Sir Wilfred, Marlene Dietrich played Romaine (renamed Christine) and Tyrone Power played Leonard Vole in his second to last role.[10] A character not in the play, Sir Wilfred's nurse, Miss Plimsoll, was created for the film and played by Laughton's wife, Elsa Lanchester.[11]Una O'Connor who had played Janet MacKenzie, the housekeeper of the murder victim, on the New York stage, reprised her role in the film.[12] Laughton and Lanchester were nominated for Academy Awards.[13]
In April 2014, the first ever site-specific production of the play opened at York Guildhall from York-based company, Theatre Mill, and was fully supported by Agatha Christie Ltd.[16] To celebrate the world premiere, there was a Q&A with the director and cast following the opening night performance.[17] According to reports, it was always Christie's wish to see the play in a site-specific location. The production was staged in the city's council chambers (using most of the building and played in-the-round) and was directed by Samuel Wood.[18] The cast included: David Bowen, Rachel Logan, Andrew Dowbiggin, Adam Elms, and Clive Moore.[16] It received very positive reviews.[19]
2015 revival
Theatre Mill's production was revived at the York Guildhall from June 2015 before transferring to Leeds Civic Hall, again garnering extremely positive reviews.[20][21] Logan, Elms, and Moore reprised their roles and were joined by Gordon Kane and Niall Costigan.[22]
London County Hall production - 2017 to present
In October 2017, a unique courtroom staging of the play opened at London County Hall to critical acclaim. Performances were suspended in March 2020 due to the COVID-19 pandemic in the United Kingdom, and resumed in September 2021.[23] As of April 2024, tickets are on sale until March 2025.[24]Produced by Eleanor Lloyd Productions and Rebecca Stafford Productions this site-specific production is set in the magnificent surroundings of the chamber inside the historic London County Hall.[25]
Credits of Original County Hall, London production