Displaying items by tag: suspense

The Saint Sebastian Players open their 45th season of travels to different places with A Murder is Announced, a classic Miss Marple mystery by Agatha Christie. Previews run October 23–25, with regular performances October 29–November 15 (no performance October 31), at SSP's home on the lower level of St. Bonaventure, 1625 W. Diversey, Chicago. 
 
The residents of Chipping Cleghorn in England are baffled when a local newspaper publishes an advertisement inviting people to a "murder" at 6:30 p.m. at Miss Blacklock's Victorian home, Little Paddocks. When an unknown visitor dies under the prescribed circumstances, Miss Marple turns up to solve the case.
 
Aliza Feder makers her SSP directing debut. Some of her directing credits include La Trout Lily at New Moon Opera; Miss Julie (also adapter) at Fermat's Last Theater in Madison, Wisc.; and Held Together at 2nd Story. She served as assistant director for The Recommendation at Windy City Playhouse, The Night Season at Strawdog and Right to be Forgotten at Victory Gardens. She recently finished directing and editing her first short film, You Would. 

The cast of A Murder is Announced includes (top to bottom, left to right; photos courtesy of the actors) Abby McEntee as Miss Marple, Emilia Barrosse, Dawn Cole, Shelley DeHosse, Adam Hoak*, Sophie Marantette, Molly McGillivray-Smith, Eric S. Prahl*, Joleigh Reiss, Jill Chukerman Test* and Sam Waddell (*SSP company member). The production team includes SSP company members Emil Zbella as set designer; Sean Smyth as sound designer, stage manager and co-producer; and Jim Masini as co-producer. Grace M. Weir is costume designer, Lex Newman is lighting designer, and violence design is provided by R&D Choreography.
 
SSP's 45th season continues its travels to New York City in February 2027 with the Tony-nominated dramedy Next Fall by Geoffrey Nauffts and to rural Georgia in April and May 2027 with the riotously funny The Foreigner by Larry Shue. Three-play subscription packages are $85, $70 for seniors and children younger than 12, available at saintsebastianplayers.org.  
 
SSP began producing theatre in 1982 at its original home, the St. Sebastian parish, located at the corner of Halsted Street and Wellington Avenue on Chicago's North Side. When the parish closed in 1990, SSP relocated to its current home, St. Bonaventure, at 1625 W. Diversey. During its history, the company has produced original and previously produced dramas, comedies and musicals; original audience-participation mysteries for special events; and the Monologue Matchup Competition, as well as provided support for Sebastian Studio Projects produced by company members. For a complete production history, visit saintsebastianplayers.org/Production-History.
 

A Murder is Announced runs October 29–November 15, 
with previews October 23–25,
Fridays and Saturdays at 7:30 p.m., Sundays at 2 p.m.
Opening night is Thursday, October 29 at 7:30 p.m.; 
there is no performance October 31.
Performances take places at St. Bonaventure, 
1625 W. Diversey, at Marshfield west of Ashland, Chicago. 
Free parking is available in two lots. 
 
Tickets are $35 for the run, $30 for previews
and $30 for the run, $25 for previews for seniors
and children younger than 12 at ssp.booktix.com.
Students with valid IDs may purchase $30 tickets ($25 previews) at the door.
Group rates also are available.
 

All programming is subject to change. 
For information, visit saintsebastianplayers.org.

As a lifelong Hitchcock fan, Dial M for Murder has always been one of my comfort film thrillers - the kind of tightly wound mystery where every glance, every pause, and every seemingly harmless detail becomes a loaded clue. I’m a sucker for a well-crafted whodunnit, especially the kind that balances elegance with danger and wit with dread. That’s why October feels like a gift for mystery lovers: a chance to watch Frederick Knott’s classic story step off the screen and onto the stage in Glenview, where its suspense sharpens and its twists land with fresh immediacy.

Although Hitchcock’s 1954 film remains the most widely known version of the story - with Ray Milland’s suave menace, Grace Kelly’s cool radiance, and John Williams’ unforgettable turn as Inspector Hubbard - Dial M for Murder began its life onstage. Knott’s play premiered in 1952 at London’s Westminster Theatre before transferring to Broadway later that year, where its tight structure and chamber thriller design quickly earned acclaim. It’s easy to forget that Knott’s play came first, but remembering its theatrical origins makes Oil Lamp Theater’s staging feel like a return to the story’s true form rather than just a nod to the famous film.

Oil Lamp Theater’s production of Dial M for Murder, adapted by Jeffrey Hatcher and sharply directed by Daniel King, taps into into that live wire energy. The plot remains deliciously tense - Tony Wendice’s meticulous plan to murder his wife Margot, the hired killer who fumbles the job, and the spiraling cover up that follows - but Hatcher’s adaptation trades Hitchcock’s cool, camera-controlled precision for something more intimate and kinetic. Without the film’s polished detachment, the danger unfolds mere feet away, every shift in tone or tactic happening in real time. Character motivations sharpen, pacing tightens, and the unraveling of Tony’s scheme feels more visceral, more human, and far less theoretical than it does on screen.

(L to R) John Chambers and Robert Austin Love in Dial M for Murder at Oil Lamp Theater.

The result is a sleek, modernized thriller that honors Knott’s original structure while embracing the momentum and immediacy only theatre can deliver. Oil Lamp Theater transforms a familiar classic into an edge of your seat experience - one that rewards Hitchcock devotees, satisfies whodunnit purists, and proves that some mysteries are even better when you can feel the strain in the room. It’s outstanding.

This is a dialogue driven thriller, and the ensemble handles its quick witted, fast paced exchanges with remarkable ease, building off one another so fluidly that the charge and rhythm feel almost effortless. The production finds its center of gravity in the icy cool poise and controlled calculation of Tony Wendice, played with crisp precision by John Chambers – Roger Moore-esque charm and all. His performance has an almost surgical sharpness - every pivot, every adjustment in tone feels intentional - making Tony’s manipulations both believable and unsettling. Chambers gives the show its spine, grounding the thriller in a performance that’s quietly dangerous and consistently compelling.

Margot Wendice emerges as far more than a plot device thanks to Paige Klopfenstein, who brings emotional clarity and a welcome sense of agency to the role. Her Margot is vulnerable without ever seeming fragile, and Klopfenstein’s grounded presence deepens the stakes of Tony’s scheme. The unease in her scenes feels lived in, giving the unraveling mystery a human pulse.

Adding a modern spark, Charlotte Foster’s Maxine Hadley offers wit, intelligence, and a refreshing directness. Foster leans into the character’s independence, making Maxine feel like a genuine complication in Tony’s carefully engineered world rather than a narrative accessory. Her scenes crackle with contemporary energy that complements Hatcher’s adaptation. Hatcher’s decision to gender swap the film’s Mark Halliday into Maxine shifts the dynamic in a fresh, contemporary way, transforming the romantic outsider into a sharper, more dynamic presence without altering the story’s core tension.

(L to R) Paige Klopfenstein and Charlotte Foster in Dial M for Murder. Production Photos by Gosia Matuszewska/Gosia Photography.

Robert Austin Love’s Lesgate brings grit and unease to the production. He captures the desperation of a man who knows he’s in over his head but can’t resist the lure of Tony’s offer. There’s a standout moment when what begins as an innocent visit to purchase an automobile suddenly twists into a realization that he’s being backed into a treacherous corner, and Love plays that shift with gripping precision. His tense exchanges with Chambers are among the show’s most suspenseful moments, adding texture to the thriller’s middle stretch.

And then there’s Inspector Hubbard - perhaps my favorite character to watch throughout - played with warm, grounded intelligence by James Sparling. It’s a role forever associated with John Williams’ cool, amused detachment in Hitchcock’s film, but Sparling wisely avoids imitation. Instead, he offers a more human, quietly charismatic take that suits the intimacy of Oil Lamp Theater. His Hubbard is observant, methodical, and confident without showiness, proving the character can be just as brilliant without echoing the film’s iconic performance.

The mid-century modern set design instantly establishes the play’s refined, high-stakes ambience, transforming the theater’s cozy space into a stylish apartment in one of London’s ritziest neighborhoods. Scenic designer Spencer Donovan leans into clean lines, warm woods, and period perfect décor to create a room that feels both elegant and quietly confining - an ideal environment for a thriller that unfolds entirely within this single space. Rachel D. Hemm’s lighting sculpts the atmosphere with strategic shadows and crisp highlights, guiding the audience through every shift in power, while Taylor Pfenning’s costumes reinforce the era’s sophistication with subtle, character driven detail. Rick Reid’s sound design is spot on, adding just the right atmospheric touches to heighten suspense without ever overwhelming the room. Ellen Markus’ meticulous props complete the illusion, grounding the world in tactile authenticity. The design team crafts a mid-century setting that not only sets the mood but becomes an active part of the unfolding drama. Oil Lamp’s finely scaled space is a perfect match for this particular thriller.

Mystery lovers and Hitchcock devotees should make a point of catching this production while it’s still onstage. Dial M for Murder at Oil Lamp Theater delivers all the elegance, tension, and twisty satisfaction of the classic story, but with the added thrill of watching the entire scheme unfold in an intimate space where every glance and shift in strategy feels immediate. It’s a rare chance to experience a whodunnit not from the safe distance of a screen, but right in the room as the danger tightens around the characters. Playing through November 1st, this is exactly the kind of smart, tightly crafted thriller that makes you grateful to see the story come alive just a few feet away.

Highly recommended - one of my personal standout productions of the year, driven by a stellar cast, precise direction, pitch‑perfect design, and pacing that keeps you on your toes from start to finish.

For tickets and/or more information, visit https://www.oillamptheater.org/mainstage-productions/dial-m-for-murder.