Review: The Hollow (Marlowe Theatre / UK Tour)
Review by Dan Ghigeanu
⭐️⭐️⭐️
When it comes to writing stories, there are some authors who are simply in a league of their own, and Agatha Christie is undoubtedly one of them. The Queen of Crime has created some of the most iconic murder mysteries ever written, with stories that have stood the test of time and continue to captivate audiences to this day. But taking a beloved Christie classic and bringing it to the stage is no easy feat. How do you breathe new life into a story that audiences already know and love, particularly when it has been adapted for television and film countless times before? As a huge fan of Christie and her work, I went into The Hollow with high expectations. But would Poirot be able to put his little grey cells to good use and unlock the secrets of this story, or would this production fall flatter than a Belgian waffle?
Originally published in 1946, The Hollow is a classic country-house murder mystery that was first adapted for the stage by Christie herself in 1951. When a certain character is found murdered during a weekend gathering at the Angkatell family home, a series of secrets, jealousy and romantic rivalries begins to unravel. Interestingly, Christie chose to remove Hercule Poirot from her original stage adaptation, believing the story worked better without him. This new version, adapted by Tamsin Oglesby, brings the famous Belgian detective back into the mix, making his return to a play originally conceived without him an intriguing prospect.
Unfortunately, while Christie’s original story is packed with the twists, turns and clever reveals that make her such a master of the murder mystery, this adaptation doesn’t quite manage to capture the same magic. There are flashes of Oglesby’s writing that really bring out Christie’s trademark wit and charm, and in those moments, the show comes alive with the intrigue and energy you would hope for. The problem is that these moments are few and far between. The first act, in particular, feels like it takes a while to get going, with the pacing dragging and the tension taking far too long to build. For a murder mystery, there is surprisingly little urgency and while things pick up in the second act, the adaptation never quite delivers the gripping, edge-of-your-seat experience that the material promises.
Lucy Bailey’s direction is a bit of a mixed bag as well. There are moments where her vision really shines through, delivering some wonderfully theatrical scenes that bring the production to life. Unfortunately, there are just as many moments where things fall a little flat, with the staging lacking the tension, energy and momentum needed to keep audiences fully invested. It’s frustrating, because you can see the potential for something rather special here, but too often the pieces simply don’t come together, leaving the production feeling a little undercooked.
The cast fares rather better, with a handful of performances helping to bring some much-needed life to the story. Michael Praed is a welcome presence as Sir Henry Angkatell, although I couldn’t help but wish the character had been given a little more to do. There is potential here, but with so little development, it is difficult to really get a sense of who Sir Henry is beyond his place in the story. James Sheldon gives a solid performance as Edward Angkatell, with his scenes alongside Grace Darling’s Midge proving to be a real highlight in the second act. Darling brings a lovely warmth and charm to the role, and the dynamic between the pair adds some much-needed energy to the story. These scenes are a reminder of just how engaging this production can be when the material and performances come together. Luke Allen-Gale does a decent job as John Cristow in the first act before returning as Inspector Colquhoun in the second. As the catalyst for the entire mystery, John feels surprisingly underwritten, leaving me wanting more from a character that is supposed to drive the whole story. Allen-Gale fares better as the inspector, with some amusing exchanges between him and Poirot.
Victoria Blunt's Henrietta Angkatell has some strong moments, particularly in the second act, where the performance finds a greater sense of purpose and clarity. However, these moments aren’t sustained consistently enough throughout, leaving the characterisation somewhat uneven overall. James Clyde makes a good impression as Gudgeon, while Tilly Steele's portrayal of Gerda Cristow has some promising moments in the earlier scenes. However, as the story reaches its conclusion, Steele's performance loses some of its impact, and the final moments lack the emotional punch they desperately need. Kemi-Bo Jacobs is a breath of fresh air as Veronica Craye, making a wonderfully theatrical entrance that would not feel out of place in a certain faded Hollywood star's comeback story. There is a delicious hint of Norma Desmond about her characterisation, and Jacobs clearly understands the assignment, bringing a welcome dose of personality and glamour to the production.
Peter Polycarpou’s Hercule Poirot is perhaps the trickiest performance to pin down. As one of Agatha Christie’s most iconic characters, there is a certain expectation that comes with bringing the famous Belgian detective to the stage, and unfortunately, this portrayal doesn’t always hit the mark. When Poirot first appeared, I struggled to hear him clearly, which made it difficult to connect with the character from the outset. There is potential in Polycarpou’s performance, and he certainly has moments where you can see the makings of a compelling Poirot, but some of the dialogue feels at odds with the detective audiences know and love. It’s a shame, because with stronger direction and material that better captures Poirot’s distinctive mannerisms, sharp intellect and unmistakable charm, this could have been a far more satisfying outing for the little grey cells.
But if there is one performer who absolutely steals the show, it is Sarah Moyle as Lady Lucy Angkatell. Funny, eccentric and endlessly watchable, Moyle brings a wonderfully layered quality to the character, making every scene she appears in feel that little bit more alive. She has impeccable comic timing and a real understanding of what makes Lucy such an entertaining character, and I found myself looking forward to every moment she was on stage. An absolute delight and, without question, one of the production's biggest highlights.
Visually, however, The Hollow is a much more convincing affair. Joanna Parker's set and costume designs are simply gorgeous, with a beautifully detailed set that has real depth and creates an evocative country-house setting. The costumes are colourful, characterful and wonderfully suited to the personalities wearing them. Chris Davey's lighting design is another standout, with some particularly beautiful effects during the transitions that give the production a welcome touch of mystery.
Ultimately, The Hollow is not a bad production by any means, but it is a show that left me wishing there was a little more substance beneath its stylish exterior. There are some genuinely enjoyable performances, a handful of wonderfully entertaining moments and a design that looks fabulous. However, inconsistent pacing, uneven direction and an adaptation that never quite captures the brilliance of Christie's original story prevent it from reaching its full potential. For Agatha Christie fans, there is still enough here to make for an enjoyable evening, even if this particular mystery never quite delivers the knockout blow.
The Hollow plays at Marlowe Theatre until 17 October and continues its UK tour until 29 May 2027. Tickets from https://thehollowplay.com/
Photos by Johan Persson.