Murder on the Links

By: Darryl Reilly

Hercule Poirot is grandly portrayed by Eric Fletcher in author Brenda Bell’s playfully faithful stage adaptation of Agatha Christie’s 1923 mystery novel, Murder on the Links. With his egg-shaped head, a prominent mustache, animated physicality and soaring, accented voice, Mr. Fletcher is commanding as the renowned Belgian sleuth. Fletcher is particularly impactful in the requisite, dramatic recitation of the swirling denouement.

The bearded, beaming and suave, Gabe DeRose is a magnetic and dashing Captain Arthur Hastings, Poirot’s stalwart confidante. The duo travel from London to the French countryside to confer with Poirot’s latest client, an English businessman. However, on arrival they learn he has just been stabbed to death in an open grave on a private golf course. Interrogated suspects at the clubhouse include household staff, family members, neighbors and assorted red herrings. Soon, a second murder is committed.

Ms. Bell has confidentially and skillfully extracted the essence of Christie’s twisty whodunit for her highly entertaining and zesty theatrical incarnation. The punchy dialogue veers from jokey to earnest. The structure is in classic detective mode and includes smart, well-woven flashback sequences. Hokiness, ingenuity and momentum abound during this inspired production. The lively ensemble gleefully attack their archetypical roles with gusto; emphatic French accents are plentiful.

The strutting and bellowing Dustin Iturri is marvelously in Peter Sellers-style overdrive as Poirot’s rival, a flamboyant French police official. Mr. Iturri’s kinetic movement direction has a hilarious bit where Bob Fosse-type white gloved hands reenact a murder through sly mime, à la Mummenschanz. The alluring Andrea Woodbridge is marvelously officious as the local police investigator. Salty Sue-Ellen Mandell is a hoot as the prickly housekeeper. Youthful and sunny Sekou Conde is riotous as a deadpan and emotive French police sergeant. Luminous Lexie Showalter delights as a bubbly American actress caught up in the goings on.

Regal Brenda Bell dominates as the upper crust English widow. Fiery Rhys Athayde is her passionate and volatile son. Feisty Patricia M. Lawrence garners focus as the tempestuous, murdered man’s French mistress. Captivating Erin Morris is her temperamental daughter. Vivacious Rheanna Salazar plays the saucy maid. Will Ernest Adams markedly appears in several male ensemble roles.

Director Shino Frances expertly guides these vivid performances, and her physical staging is dazzling. At times, a large amount of the actors are placed on the contained playing area with exquisite precision. There are gorgeous stage pictures, rapid pacing and jolting effects. Scenic designer Elizabeth Chaney’s lavishly detailed golf clubhouse is eye catching, and two plush red chairs cleverly suggest a train compartment. Jessica Choi’s lighting design is a perpetual masterpiece of arresting hues; violence is suggested by crimson bursts.

Costume designer Courtney Hansen provides bright and lustrous period wear, as well as a neat French maid uniform. Composer and music director Michael Sgouros’ original score ranges from jaunty to eerie, and is masterfully played by him live. The performance under review was effectively overseen by production manager Emma Ruopp and stage manager Kelley Alogna.

With its artful presentation and splendid acting, this spirited version of Murder on the Links is a roaring good time for Agatha Christie devotees and casual theatergoers.

Murder on the Links (through April 27, 2025)
Be Bold! Productions
The Players Theatre, 115 MacDougal Street, in Manhattan
For tickets, visit www.beboldny.com
Running time: two hours including one intermission