Review: Richardson Theatre Centre brings Agatha Christie's THE MURDER OF ROGER ACKROYD to life

The Murder of Roger Ackroyd

Book by Agatha Christie

Adapted for the stage by Mark Shanahan

Directed by Rachael Lindley

Produced by Richardson Theatre Centre

Audience Rating: PG-13
Accessible Seating: Available
Hearing Devices: Not Available
Sensory Friendly Performance: Yes
Production Sound Level: Comfortable Sound Level
Noises or Visuals to Prepare for: None of note
Running Time: 2 hours, 15 minutes, with a 15 minute intermission

Reviewed by Glynda Welch: An Abundance of Motives

Pretty much everyone in King’s Abbott needs something from Roger Ackroyd (David Noel),
wealthy businessman and owner of the hilltop manor that watches over the village. Adopted
son Ralph Patton (Johnathan Luce) has money problems, as do Ackroyd’s old friend Major
Hector Blunt (Douglas Kent) and his widowed sister-in-law Gertrude Ackroyd (Sue Goodner).
Gertrude’s daughter Flora (Penelope Richards) feels the impact of her father’s minimal legacy.
Secretary Helen Russell (Kate Crawford) zealously protects her role as gatekeeper to Ackroyd.
Parlor Maid Ursula Bourne (Molly Rose) has just been sacked. Then there’s the Butler Parker
(Budd Mahan). The butler is always suspect. Caroline Sheppard (Karen Jordan) is the harmless
town gossip. Her sister, Dr. Jane Sheppard (KJ James) is the town’s primary and only physician
and a long-time friend of Ackroyd. Once Roger’s body is discovered we meet Inspector Raglan,
Agatha Christie’s typical ineffectual British police detective (Lucia Welch) and Hercule Poirot
(Jeff York) who steps in and guides her to the truth.

Christie’s mystery, adapted for the stage by Mark Shanahan, keeps the audience busy listening
for clues and analyzing characters. By intermission voices were raised in discussion and guesses.
This cast is packed with talented actors who imbued their characters with personality and
quirks that kept opening night’s audience completely engaged. Spontaneous applause broke
out numerous times in addition to the murmurs and laughter.

James, playing a female version of the Dr. Sheppard written by Christie, kept the masculine self-
assurance, mannerisms and clothing necessary for a female doctor in this time period. She is the
narrator who guides the audience through the story from the beginning, sharing that role with
Poirot later, but firmly taking it back in the final moments. York embodies Poirot. He handles
the dramatic moments with ease, and shines in the lighter moments. Whether manipulating
Caroline to glean information, or eavesdropping on Flora he is a delight to watch. Jordan’s
Caroline is the sweet elderly friend you want to go to for tea and sympathy. Luce’s Paton is
enigmatic. He makes the most of his limited on stage time, as does Noel. Ackroyd is flamboyant
and mercurial for a few brief moments before his murder removes him.

Goodner trots out her considerable comic skills to bring us Gertrude, going from whining to
insulting to charming, all in between drinks. Richards charms as Flora, trying to please everyone
until she hits her limit. Kent’s Major Blunt is insufferable but strangely likeable. Crawford’s
pursed lips and stiff posture made Russell the hyper-efficient disapproving secretary Christie
wrote. Mahan’s dry delivery made Butler Parker fun every time he entered. Welch, like James,
plays a role written as male. Welch’s inspector is thoroughly feminine, strong even while being
on the wrong track and resistant to Poirot’s help. Her facial expressions revealed the inner
turmoil her character was experiencing.

Resident Set Designer Greg Smith has again created a beautiful and flexible set that makes for
seamless transitions. Costumer Kristin Moore not only found character and period appropriate
costumes, but made sure many were audience eye candy. Rusty Harding did Sound Design.
Kenneth Hall did Lighting Design, including several tricky but very necessary partial blackouts
and lighting shifts to move attention to different characters on stage. Robert Sims served as
Sound/Light Operator. Director Rachael Lindley and Stage Manager Leigh Wyatt Moore
manipulate this large cast to maximize RTC’s small space.

The Murder of Roger Ackroyd continues at Richardson Theatre Centre through March 2, 2025.
Tickets are available online at richardsontheatrecentre.net or by calling the box office at 972-
699-1130. RTC is a small house and performances often sell out. Don’t delay.

Experience Live Theatre

Glynda Welch