Photo: David Cantelli
Agatha Christie’s And Then There Were None remains one of the crown jewels of the mystery genre. It’s a story driven by the tension of dread. When a community theatre takes on an Agatha Christie whodunit, stakes are high. Clarity, tension, and ensemble chemistry must all align. In Attleboro Community Theatre’s case, the gamble pays off. Director Marissa Simas achieves steady pacing and clear character distinctions with satisfying intrigue and suspicion. From the moment the ten guests arrive — strangers with secrets, drawn to a remote island by mysterious invitations, isolated in a mansion and picked off one by one — the foreboding tone is set.
Simas found directing this show to be challenging and yet a privilege. “I got to work with a cast that is nothing short of exceptional. They took risks, trusted the story, and brought me more ideas than I could have imagined. They were not afraid to go dark or make bold choices. They threw themselves into this play with tons of heart, creativity, and fearlessness.” The chemistry among all cast members, especially as the mystery deepens and suspicions rise, enhances the emotional draw.
With ten different speaking roles, these talented actors avoid confusion by using varying speech rhythms, postures, and motion patterns. At the center is Justice Wargrave, brought to life by John Softcheck with a steely calm and unnerving gravitas. He commands the stage, planting seeds of doubt with judicial precision. Emily Rizza as Vera Claythorne displays a wide-eyed unraveling that’s both believable and moving. James Laurent as Philip Lombard delivers confident charm that masks something darker beneath. Sheila Kelleher, as the pious Emily Brent, walks a fine line between moral decay and indignation.
The first act lingers a bit as each guest is introduced, but is cushioned with consistent moments of fluid tension, so the dramatic engine never idles. As stakes rise, the action snowballs, tension escalates, and anticipated doom takes hold. The final act, with its last unmasking, holds its theatrical landing. Moments of silence are used to good effect, giving the audience a chance to absorb clues, suspect motives, and anticipate what’s to come.
Lighting by Jason Lamb includes sudden, ominous blackouts that leave the audience holding their breath. The foyer-lit approach gives way to ominous effects as the death toll mounts. The minimalist set by Simas and Lamb consists of one tastefully decorated sitting room, leaving space for the characters’ psychological unraveling to be front and center, with doors and windows opening and shutting as needed. Well-timed entrances and exits all contribute to a creeping sense of unease. Sound cues by Jennifer Keating, such as waves and thunder, are among the production’s silent protagonists, adding emotional heft in lieu of dialogue. Simas’ costumes make evident the time period, as well as each character’s class and temperament.
The production is engaging and often gripping. If you enjoy a classic mystery where your inner detective goes into action, ACT’s production is well worth your time. According to Simas, whether you come for the mystery, suspense, or the strange sense of justice this play delivers, “I hope you leave thinking about the shadows we all carry and the ways we try to outrun them. Now sit back, enjoy the show, and trust no one!”Come play sleuth! ACT presented And Then There Were None through October 5. For more information, visit attleborocommunitytheatre.net.