Mention Agatha Christie to anyone, and you know you’re in for a classic Whodunnit mystery. With such a prolific author and playwright, there’s the usual expectation of interesting characters, intrigue, murder and the pointing of fingers.
The Genesian Theatre Company presents The Hollow, a play that debuted in 1951 and ran for 11 months in London. The director Molly Haddon, herself a very experienced Agatha Christie actor, has assembled a dynamic cast inside a historic Sydney building, The Genesian Theatre. Built in 1945, the theatre lent itself aptly to this time period with its grand wood ceilings and plush, heavy curtains to host this play.
The Hollow opens with three characters, Lady Lucy Angkatell (Penny Day), her husband Sir Henry Angkatell (Vincent O’Neill), and his cousin Henrietta Angkatell (Jess Davis), in the garden room of a wealthy English country manor, where the play is predominately set. They are hosts to their extended family for a weekend, and we are soon introduced to Dr John Cristow (Chad Traupmann), his wife Gerda (Emily Smith), Midge Harvey (Cariad Weitnauer), Edward Angkatell (Thomas Southwell) and Mrs Gudgeon (Emily Saint Smith) the housekeeper.
Adding to this full house, film starlet Veronica Craye (Alannah Robertson) arrives next door, and it soon becomes clear that love in this family is a tangled mess, and Dr John Cristow is right in the middle of it. Another love triangle is also at play, highlighting the follies of blind adoration.
A shot is fired from an assailant offstage, and we see one character fall to the ground. This scene was acted exceptionally well and was the close of the one-hour first act. The second act, running for one and a half hours, introduced Inspector Colquhoun (also played by Chad Traupmann) and Sergeant Penny (Natalie Reid), who lead an investigation into who committed this crime with a list of suspects forming in the audience’s minds.
Director Molly Haddon immersed the audience in the time period with her set design for The Hollow. It had a genuine 1950s post-war look, with careful touches such as round light switches, period vases, golden photo frames and even a magazine with 1950s film stars on the cover. I loved the painting that hung above the fireplace, which represented Ainswick, a childhood home of the cousins. One scene involving a round-dial telephone and a telephone operator (with appropriate lighting by Cian Byrne) gave us a nostalgic feel. The large floor to ceiling glass doors leading out to the garden provided the room with an open and spacious area which left the actors plenty of room to manoeuvre around the stage.
The costumes by designer Susan Carveth and the actors’ hairstyles were wonderful and reflected upper-class English society. The sound effects were effective and minimal, with the focus being on the music played through the ‘wireless’ – the songs being thoughtfully chosen to match the theme of the scene.
Special mention to Penny Day, whose character Lady Lucy entertained us with her comedic musings with well-delivered timing, Jess Davis with her portrayal of Henrietta, her complexity and depth of character apparent and Thomas Southwell, who played Edward, a meek and mild man with low self-esteem.
The Genesian Theatre is relocating to Rozelle after 70-plus years of entertaining the public with the arts. Go see The Hollow, as it’s one of the last chances to see a live performance in this iconic building.
The Hollow is playing at The Genesian Theatre, 420 Kent St Sydney from 19th Aug – 23rd Sept 2023; Friday and Saturday nights at 7.30 pm and Sunday matinée at 4.30 pm
This review also appears on It’s On The House.
