Black Coffee

Bread and Circus Theater presents "Black Coffee, a play by the British crime-fiction author Agatha Christie (1890–1976) which was produced initially in 1930. The first piece that Christie wrote for the stage, it launched a successful second career for her as a playwright. Hercule Poirot and his friendArthur Hastings are summoned to visit a famous physicist, Sir Claud Amory, but they discover on their arrival that he has been murdered. The plot revolves around a stolen formula, with Poirot deducing which of Sir Claud's house guests/family members is the killer."  
Bread and Circus’ newest location is 3013 W. Broad St. at Westgate Ave., sharing an intimate setting between the walls of an art gallery. This fanciful parlor is brought to life for us with a tiny, but fantastic, set. A few concerns were raised when the robin's-egg blue tiled floor was exposed in areas where rugs did not cover. I also caught more than one occasion when fellow attendees and myself were gasping as the walls would bow in and out from lack of upper section support (I’ve been told there was no way to secure said issue).  My last note, not complaint, was the use of the "Producers Seats." Both community and professional theaters often offer patrons priority seating to raise friends and funds. This is not a bad thing, but I did hear more than one complaint from new viewers who were there to support friends and family, that the "Producer's Row" blocked 80 percent of the show's action. I half agree with this sentiment since the space is small and the action, focused mere feet from the front row, was next to impossible to see. 

Overall, the production was enjoyable. The main issue with this show is not the dialogue (though a bit labor intensive and dry, but witty), but the action, It is mainly Move stage right, sit, deliver four pages of dialogue, insert witty joke and dry humor here. I would have liked to see more movement within the staging, to increase the feelings of unease and desperation. The purpose, however, in this production was served. The “WhoDunnit” ran rampant after Act 2 amongst the audience. A side note to the costumer: I would advise a bit more research into jewelry and accessories for this period piece--men would not have have worn modern watches with blue faces and metal bands.

As always, I would like to point out a few outstanding performers from this piece. It should be noted that, while not all of the actors are mentioned here, it does not mean their performances were any less important or valid. 

Sabina Thalheim (Lucia Amory): Thalheim has the rare ability of silky vocals. Her accent is a soft, sweet and inviting “homage to Mary Poppins" (an eavesdropped note from a fellow patron). She also has the rare trait to snap in and out of emotional vulnerability and close off to everyone. The show opens with her sitting on the parlor's couch amidst an emotional break down and, shortly after another entrance, acting as if nothing is on her mind--truly a rare and welcomed ability from an actress. You will want to keep your eyes peeled for what will come next for this wonderful local actress.

Doug Montanro (Hercule Poirot): Oozes French charm and fatherly guidance from the moment he takes the stage at the end of Act 1. I truly loved Montanro’s performance for the simple fact that he is the quintessential leading man of this show. And since the average arrogance of a leading man is not found in his performance, I applaud him for keeping his focus and playing the role to its truest intent.

John David Heisler (Edward Raynor): Is truly a snake in the grass, not just because of his bio in the playbill (filled with dubious intent), but because he brings us the (SPOILER ALERT) evil villain. Though he had quite an obvious tell in his half-cocked grin. I can look past this based on his skin-crawling performance. 

Leslie Robinson (Ms. Caroline Amory): Is quite the spectacle. Our spinstress complete with yarn and crochet bag. Though her performance runs border-line "over the top" and "pandering for laughter," at moments I was more than pleased with her take and deliveries. Caroline is one of the comic reliefs in the show and Robinson genuinely achieved this in her performance.

For the other members of the cast, it takes guts to perform Agatha Christie and, for successfully completing a run of this show, I congratulate you all. Though I would note that diction, accent quality and volume could always be examined under the microscope. Continue to round out these things, and you have a more than a stellar performance.

I look forward to more Bread and Circus shows and I humbly thank them for allowing me the opportunity to write a review for them. Keep your eyes open, dear readers, for the next show coming to Bread and Circus, the Shakespeare classic "Antony & Cleopatra."