Review: DIAL M FOR MURDER at The Village Theater

 Danger! Suspense! Blackmail! Village Theatre’s production of Dial M for Murder captures all the intrigue of the 1954 Hitchcock noir classic, with one key update that sharpens the tension for modern audiences. Directed by Adam Immerwahr, the story centers on Tony Wendice (Richard Ngyuen Sloniker), a dastardly ol’ brute who concocts a sinister plan to murder his wealthy–and unfaithful–wife, Margot (Betsy Mugavero). In this version, Margot’s affair is with a woman; mystery writer and mutual friend, Maxine Hadley (Angela DiMarco). Enlisting the help of his old college acquaintance, Lesgate Swan (Calder Jameson Shilling), Tony sets his elaborate revenge into motion—only to watch as his meticulously crafted scheme take unexpected and unraveling turns. 

The plot builds around the four cornerstones of a good thriller, as detailed in the program: setting the crime in the future, revealing the villain early, establishing strong characters, and sharing enough information to keep the audience engaged in a “can-they-do-it?” journey. From the moment Tony’s machinations are revealed, the play delivers on the promise of thrills as his dastardly scheme does not go exactly as planned. It gets a little muddy when the audience is tasked to keep track of the whereabouts of multiple latchkeys, but overall the story succeeds in maintaining suspense—especially in the second act. The buttoned-up British politeness sometimes undercuts the sense of true danger; however, that very politeness leads to refreshing moments of dry humor that add to this play’s delight. 

The performances, in general, are solid. Angela DiMarco’s Maxine is a thoughtful mix of poise and vulnerability. However, her interactions with the equally talented Betsy Mugavero as Margot don’t quite sell the passion of their affair. Richard Nguyen Sloniker’s Tony Wendice strikes the right balance of charm and duplicitousness, his character's cleverness carefully peeling away to reveal arrogance. Calder Jameson Shilling delivers a solid performance as Lesgate (albeit on occasion a bit outshined by his costars). Meanwhile, R. Hamilton Wright as Inspector Hubbard is a standout, embodying the truest-to-form British detective with wit and precision that keeps the audience engaged, even getting a little bashful at lurid details from a love letter.

 Where this production truly shines is in its stagecraft. The set, a detailed and immersive mid-century home, is a star in its own right. Designed by Paige Hathaway, the crown molding, leather tufted couches, and a well-stocked bar cart transport the audience into Tony and Margot’s world, with every design choice adding to the atmosphere. Small but impactful moments—like the sound of a key locking and unlocking, or the grisly yet darkly amusing scene of a pair of scissors coming into play—are executed so well that they almost steal the show. It’s these technical touches that bring Dial M for Murder to life and remind the audience of its Hitchcockian origins.

 Despite its strengths, the show occasionally struggles with pacing and suspense. Certain moments, such as Tony’s long-winded explanation to Lesgate, lose steam due to lack of urgency. And while the second act picks up momentum, some choices—like the unacknowledged bait-and-switch with Tony’s cane—miss the opportunity to land a more thrilling punch.

Ultimately, Dial M for Murder is a compelling, methodical thriller that pays tribute to its source material without fully breaking free from its buttoned-up constraints. It’s clever, engaging, and meticulously crafted, but it never quite reaches the level of edge-of-your-seat suspense. Fans of Hitchcock and classic British drama will find plenty to admire. 

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