Last week, Alex and I took a spin up to Winnipeg’s Exchange District to see Black Coffee, Christie’s first play (and her only one with Poirot). The Royal MTC put on this play in contribution to the 17th annual Master Playwright Fest, which this year featured Agatha Christie (dubbed ChristieFest). Many Winnipeg theatre companies tried their hand at Christie plays, including The Mousetrap and The Hollow. Free events during ChristieFest included public viewings of the PBS documentary The Mystery of Agatha Christie (with David Suchet) and the films Death on the Nile and Murder on the Orient Express.
Now, I was very excited, as this was my own first Christie play. I’d read both the script of Black Coffee as well as Charles Osborne’s novelization– but of course, plays really do need to be seen! The reviews had been a bit lackluster, but their critique was more directed toward a perceived dullness in Christie’s play itself, not the performance. Well, knowing what to anticipate, I could live with that. 🙂
The cast included Lorne Kennedy as Poirot, Arne MacPherson as Hastings, Ross McMillan as Sir Claud Amory (and Japp), and Claire Armstrong as Lucia Amory. Kennedy gave an especially good performance of Poirot– sometimes, I swear, channeling Suchet. And MacPherson was a likeable, if highly excitable, Hastings. 🙂 One particularly noticeable deviation from the original play is that the secretary Raynor was changed to a woman– “Edwina,” played by Miriam Smith. This was perhaps to balance the male/female ratio.
The pince-nez and lapel vase are distinctively Suchet’s Poirot. But Lorne Kennedy wore them well.
The set and lighting were really beautiful. Having myself specialized in trompe l’oeil in university and having done some set painting, I was particularly interested in the forced perspective garden scene beyond the French windows. For some reason, I was also mesmerized by the reproduction of a painting of Samuel Johnson high on the wall. It seemed to lend a comfortable, fitting, 18th-century “Sir Joshua Reynolds” sort of air to the distinguished country house set.
Christie herself was not particularly fond of this play, and by all accounts it’s not among her best. It’s a typical cozy mystery with conventional stock characters– the noted scientist, the misunderstood girl, the blackmailer, the vamp, etc. Anyone who is familiar with the story The Mysterious Affair at Styles will notice some pretty obvious plot-borrowing. Christie also borrowed the occasional quote from her own stories. This line in Black Coffee can be found almost verbatim in the story “The Chocolate Box.”
POIROT: Madame, it is sometimes difficult to set a dog on the scent. But once he has found it, nothing on earth will make him leave it. Not if he is a good dog. And I, madame, I, Hercule Poirot, am a very good dog!
Charles Osborne’s adaptation included even more lifting of dialog from Christie stories, including “The Adventure of the ‘Western Star'” and several others. C’est curieux! Also curious is Hastings’ apparent eagerness to be vamped, considering that he’s already been out in Argentina which means he’s already married at the time this play is set. Oh, Hastings…
It was an enjoyable evening and the audience seemed to have fun with the performance. The program was cute, too, including not only Christie facts but suggestions on how to make great coffee!
My only real regret was not being able to get to more of ChristieFest this February. We didn’t learn of most of the events until it was too late, and being the self-professed greatest Poirot fan in at least Manitoba 😉 this was an embarrassing oversight on my part. But well done, Royal MTC, on an enjoyable interpretation of Black Coffee. 🙂