by Agatha Christie / directed by Sabrina Poole
15-17 and 21-24 October 2026
It felt pretty weird. After ten years of almost always being in the theatre on 'official business' - with my AD hat on - this was my first attendance at a show without that responsibility. However, it did have one major advantage. During that decade, I haven't once seen a show of which I didn't know the ending - due to the fact that even without any direct involvement or supervisory role, I'd have read the script when we chose the season! This time... not.
And that was wonderful, because it allowed me to become completely absorbed in this twisting tale, learning about each character, their past, their personality, following the story with bated breath right to the denoument. The Barn, inexplicably, hasn't presented any Christie stories before - not once in its 46-year history. Artistic Director Sabrina Poole - a self-confessed Christie addict - has done the theatre proud with a well-paced, imaginative, highly creative and satisfying show. It was, I might add, very satisfying to hear fellow audience members discussing during the interval, in animated fashion, their opinions on 'whodunnit'...
The set was dark, brooding, simple and appropriate, allowing clear setting and movement for a large (but decreasing in size!) cast. The use of sound and light was hugely effective (and often startling - after one particularly loud clap of thunder, I observed two ladies on the front row nearly fall out of their seats!).
It was a delight to see an almost equal mix of new faces and old friends on the stage, and each one of the ten actors ("ten little soldiers") presented their backstories with conviction and excellent stagecraft. Every one made a fine and appropriate contribution -, no matter how long their character survived into the text...
Mark Hobbs and Meryl Dempsey, as the staff members Mr & Mrs Rogers, served the self-satisfied guests with confidence and restraint, and underpinned the situation perfectly. David Lintin's General Mackenzie was exceptionally moving and showed his deep-seated pain. Paul Cooke's nervous, haunted Dr Armstrong shivered in and out of the action and suspicion like a troubled ghost. Tristan Pike's gangly upper-class twit and rapid switches into an entirely different staff character brought a much-needed lift to the intensity of the proceedings.
Giles Conneely as the Judge and Jamie Willimott as Blore both showed exceptional stage command and storytelling, and performance versatility (OK [disclaimer], they both wore very different personalities in the show I directed them in back in July!). Gill Tichborne, as the waspish Emily Brent, demonstrated her hallmark impeccable character work and timing, which was carried off with superb elan; and the magnificent Tom Capon, whose sinister charisma left one permanently hovering between attraction and neck-prickling apprehension (shades of Iago here). Perhaps most remarkable of all, the very young and extraordinarily talented Florence Bates, who as pivotal character Vera showed a command of her art well beyond her years. Vera's escalating terror could so easily have slipped into caricature and/or overacting, but Bates' skill and the work of a first-rate director ensured that she remained convincing and truthful.
The show is enjoying record ticket sales; all three performances in the first week are fully sold out, and there are very few seats remaining for the second week at the time of writing. Advance booking is even more essential than usual on this occasion.
A huge thank you to Sabrina and her talented cast for continuing the Barn's well-deserved reputation for quality theatre, and for kicking off the new season in fine style.
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| Photography: Sean Owen of Reflective Arts |
Tickets: www.ticketsource.com/sewellbarn | phone 0333 6663366
Contains murder, adult themes, depiction of hanging, and references to suicide
