By: Darryl Reilly
With his bald head, beaming mustached face, animated physicality, and delightfully accented booming voice, Eric Fletcher offers a glorious characterization of that immortal Belgian sleuth Hercule Poirot in this mirthful and faithful revival of Agatha Christie’s 1930 first stage play Black Coffee.
Clad in a light gray suit, the imposing Mr. Fletcher gleefully swaggers through this classic English country house whodunit. Fletcher majestically sorts through red herrings and narrative machinations while supremely reaching the twisty and dramatic denouement. A highlight of Fletcher’s grand performance is his interrogation of a young female suspect; playful sensuality abounds. “What you need is a father confessor, talk to Papa Poirot!”
A knighted wealthy scientist has devised a formula for an atomic weapon; it has been stolen. In his drawing room he confronts an assembled party of a relatives, visitors, and servants. He has contacted the noted private detective Hercule Poirot to come and investigate the theft. However, when the lights go down if the formula is returned there will be no questions asked. The lights come up; the scientist is now dead from having drunk a poisoned cup of coffee. Poirot soon arrives to solve this murder.
Dame Agatha (1890-1976) spins this all out with her exquisite command of plotting and distinctive character delineation. Black Coffee’s director Shino Frances’ vigorous physical staging has the large cast precisely placed on the contained playing area at all times, they also make clean entrances and exits sometimes through the auditorium. There are also rapid pacing and momentum as the tone alternatively veers from antic to sober. The depictions of the stock characters are knowingly broad yet grounded. Ms. Frances’ rollicking presentation is respectful of Christie’s sensibility and intentions.
Wiry Riley Fee is riotously steely as the imperious scientist. Patricia M. Lawrence is a dithery whirlwind as his matron sister. Dashing Jack Wooton is heroically stalwart as his son. Vivacious Andrea Woodbridge employs a catchy accent as his part Italian wife. Saucy Lexie Showalter is a 1930’s-style wise cracking dynamo as the scientist’s daughter. She hilariously has romantic designs on Poirot’s confederate Captain Hastings; he is charmingly played by Andrew Accardi with amped up verve.
As the housekeeper, august Sue-Ellen Mandell is enchantingly sedate and wonderfully opens the play with the old-time device of exposition imparted during a phone call. Charismatic Gabe DeRose is devilishly rakish as a pivotal Italian physician. Will Ernest Adams is marvelously dry as the scientist’s brainy assistant. Kathryn Loggins’ passionate presence enlivens the role of the officiating doctor. With British working-class brio, the lively Brenda Bell is a force as Poirot’s foil Inspector Japp. Sunny Isaac Lewis appears as a steady police officer.
There are requisite French doors in scenic designers Elizabeth Chaney and Joanne Chiayuan’s finely detailed drawing room set which conveys spaciousness. Jessica Choi’s simple though bold lighting design relies on amber and crimson hues and is most effective during the revelatory and action-packed finale. Costume designer Courtney Hansen’s snazzy yesteryear-style garments accurately visualize the numerous characters. Most integral to the production’s success is in dimness composer, music director, and percussionist Michael Sgouros playing his witty original incidental score live throughout.
This spirited incarnation of Black Coffee is a captivating diversion.
Black Coffee (through April 26, 2026)
Be Bold! Productions
The Players Theatre, 115 MacDougal Street, in Manhattan
For tickets, visit www.beboldny.com
Running time: two hours and 15 minutes including one intermission