Perhaps less well known than some of Agatha Christie’s other mysteries, The Hollow takes a slightly different trail from what we’re used to with our beloved Belgian detective. Less about the traditional ‘whodunnit’ and more focused on family dynamics, relationships and secrets hiding in plain sight, it may not be quite as cleverly constructed as the likes of Murder on the Orient Express or Death on the Nile. But perhaps that’s the point. You could argue that, in some ways, it’s even more clever, as the big reveal isn’t the star of the show. Instead, it’s the character development and the relationships that unfold throughout.
As always, Joanna Parker’s stage design is absolutely exquisite. Set in a gorgeous drawing room in a country estate, the production features decorative windows, heritage furniture and plenty of sumptuous greenery beyond the windows to complete the scene. The tableau is cleverly compacted into the middle of the stage, giving us the impression of peering into a painting or work of art rather than being fully immersed in the drama. It only adds to the feeling of decadence and grandeur. As we’ve seen in previous Lucy Bailey adaptations, the clever use of both the front and back of the stage as separate ‘rooms’ creates a wonderful sense of dynamism, allowing for stolen moments and adding another layer to the mystery.
Peter Polycarpou plays Hercule Poirot with confidence, capturing the familiar mannerisms of our French Belgian detective and even raising a few laughs when he leans into the humour. He’s perhaps a little less amiable than Mark Hadfield was in Lucy Bailey’s previous production of Death on the Nile, which we saw at Belfast’s Grand Opera House earlier this year, but it would be unfair to compare the two too closely.
Sarah Boyle is inspired as the absent-minded Lady Lucy Angkatell, delivering the eccentric lady of the house with just the right balance of humour, wit and cynicism. In contrast, Michael Praed brings a more level-headed presence to her husband, Sir Henry Angkatell, doing a fine job despite having relatively little stage time.
Victoria Blunt brings a lovely amount of nuance to Henrietta Angkatell, especially in the second half, while Grace Darling’s portrayal of Midge provides a welcome dose of fun and frivolity throughout. Luke Allen-Gale plays two roles – John Cristow the object of many of the women’s affections at the beginning, followed by the slightly hapless Scottish Inspector in the second half. I would have liked a little more character development for John Cristow to help understand why exactly he was so beguiling, but Allen-Gale’s Inspector was spot on.
Kemi-Bo Jacobs plays the American starlet Veronica Craye with great verve. She breezes into the room like a whirlwind, makes sure everyone is looking at her and then she’s off. A welcome contrast to the stiff upper lip of the British aristocracy, it’s nice to have some real dramatics to entertain us.
All in all, this is an entertaining piece of theatre. Perhaps not quite as gripping as some of Christie’s other mysteries, but with its combination of sumptuous set design, gorgeous lighting and a very talented cast, it’s certainly a night worth spending at the theatre. You can catch Agatha Christie’s The Hollow at Belfast’s Grand Opera House until 7th November. For more information or to book tickets click here.
