Sir Henry and Lady Angkatell share a spacious, opulent home, called The Hollow, not far from London. Henrietta Angkatell, a sculptor (and relative) is lodging as a guest, and family are always welcome to stay there. The elderly couple are hosting a weekend for relatives, mostly cousins, and their spouses. More than a few grew up here, with fond memories. Several are having affairs with the others, some have longstanding, unrequited crushes. Dr. Cristow hardly misses an opportunity to disparage his wife, Gerta. Henrietta unveils her most recent and enigmatic (though not abstract) statue. There’s marksmanship, sumptuous meals, gardening, a visit from glamorous screen star: Veronica Craye.
You needn’t be a fan to know that Agatha Christie initiated a plot structure that’s now imitated (and botched) by countless others. A murder occurs among a gathering of people, confined to a particular location. An island, a mansion, a train. Hence they are all suspects, each with a perfectly good reason to end the victim’s life. During interrogation, we learn each character’s connection to the deceased, and much about them, in the process. Once this narrative device was discovered, it became a formula for hacks and wannabes. They didn’t really want to tell a story, just a shortcut to success. You attend a play by Agatha Christie, and you will be spared such crass shenanigans.
There are usually a number of givens, to any murder plot: The easiest answer is never the solution. The police will probably show immediately, and make a nuisance of themselves. One of the ladies will shriek, when the body is discovered. One of the characters will utter these chilling words: “There was so much blood.” At least one character will rant indignantly at the suggestion they might also be a suspect. No one and perhaps, nothing, is what it seems. In The Hollow, Lady Angkatell appears to be somewhat loopy. But she’s also snipey, gossipy, and conniving. Few of the suspects were happy to be visiting in the first place. Duplicity and resentment lurks behind gregarious banter.
One of the great joys of seeing a drama by Christie, is her ability to exploit these tropes, yet keep the meticulous narrative plausible, surprising and intriguing. By the end, we will know the culprit, and something unexpected, important from each character. Content is never mere scaffolding for plot. Death never a box to check. The pleasure is Christie’s refusal to make herself a manufacturer of genre. A producer of wares. A master of the facile.
And who better to do justice to this absorbing, cunning quandary than the splendid folks at Richardson Theatre Centre? Director Rachael Lindley and her dedicated, energetic, captivating players give us 200%,. Engaging in the strange, sad, inexplicable lives of the guests. Christie gatherings are always something of a menagerie, but these impressive performers are undaunted and nimble. Each actor holds our attention, effortlessly and with aplomb. I have a word or two to share with Set Designer Kyle Chinn. Dang it man, when you make everything look so posh and inviting, I want to move in!
Richardson Theatre Centre presents: The Hollow, playing August 26th-September 11th, 2022. 518 West Arapaho Road, Suite 113, Richardson, Texas 75080. 972-699-1130. richardsontheatrecentre.net