The autumn season of in-house and shared productions at the Queen’s Theatre in Hornchurch ends with a real corker of a show, as its hero Tommy Beresford might have said. It’s a co-production with Eleanor Lloyd in association with the Watermill Theatre and is a thoroughly gorgeous piece of stage-craft and ensemble work.
Designer Tom Rogers, choreographer Nancy Kettle, consultant magician John Bulleid, lighting designer Howard Hudson and sound designer Adrienne Quartly must take proper credit. And that’s as well as director John Nicholson and writers Sarah Punshon and Johann Hari, who have made a fine piece of Twenties pastiche from Agatha Christie’s original 1922 story The Secret Adversary.
Those glitzy Hollywood films of the period between the two world wars with their wisecracking sophisticated heroines and dashing heroes are cleverly referenced in the crisp dialogue as demobbed soldier Tommy (Richard Holt) meets former Army nurse and vicar’s daughter Prudence Cowley, known as Tuppence (Naomi Sheldon), and renews their pre-war friendship.
Both are financially broke and not helped by the economic depression which will culminate in the 1926 General Strike. Revolutions in Europe, especially the Bolshevik one in Russia, led to a degree of paranoia in countries otherwise stable through military victory in 1918 – the 19th century perceived threat of anarchists lurking with bombs and fell intents was fast developing into a Reds under the bed syndrome.
This is the background as Tommy and Tuppence find themselves in a spy drama of global importance. What they, their helpers and their opponents say is what most people of this social class would have thought and said at the time – no false anachronisms here. The night-club setting with its ruched curtain which reveals a rather sinister grey-walled structure pierced by more doors than in the average French farce is a delight.
Musical director Inga Davis-Rutter sets the mood at the keyboard with the remaining members of the multi-rôle cast – Rebecca Bainbridge, Isla Carter, Philip Battley, Nigel Lister and Morgan Philpott – joining her to provide the music for the song and dance scenes. Bainbridge and Carter make the most of their contrasted female characters and come close to rivalling Sheldon in the audience’s affections.
I won’t spoil your pleasure by unmasking the villain before Tuppence and Tommy do; suffice it to say that you can choose between Lister’s Sir James, Philpott’s Mr Whittington and Battley’s Julius – and you’ll probably choose wrong. First night applause can be misleading, even artificial, but this was an audience which was enjoying itself and delighted to show its appreciation.