Adapted for stage by Leslie Darbon in 1977 – the year after Christie’s death – the lighthearted mystery suffers from the same issue as some other Christie novels turned into plays. Complex plots loaded with red herrings and extensive backstory are too difficult to tell in one evening, even with a running time of 2 1/2 hours.
While TV and film have the advantage of music, close-ups and editing, theatrical limitations render much of this Christie yarn little more than actors reciting a litany of facts about unknown – and unseen – characters that an audience must remember for the climax to have any impact. (Daily Breeze)
O caso dos dez negrinhos com a companhia oficial, chega ao Teatro Chruchill em Londres, Inglaterra, no próximo dia 28.
It’s no good doing an Agatha Christie play unless you’re going to take it deadly seriously, writes Mark Campbell.
And, thankfully, the Churchill’s recent production of And Then There Were None largely succeeded in this – apart from a couple of exceptions that I’ll touch upon shortly. (Bexley Times)
With Agatha Christie’s The Mousetrap still running in London after 56 years, there have been plenty of opportunities to parody the theatrical form it has come to epitomize. The movie Murder by Death, the musical Something’s Afoot, and the infamous Broadway play Moose Murders are just a sampling. At this point, it really isn’t the form — a group of strangers, thrown together in a secluded house, who are picked off one by one — that has any meat left on the bone to scavenge comically. The laughs must now come from how cleverly the stereotypes are drawn, and the invention in which they are put through the familiar plotted paces — especially if you are going to dispense with any real who-dun-it concerns. (Bay Area Reporter)