'The Hollow' a solid who-done-it at Whidbey

Murder mysteries are a stock item of community theatres everywhere. The Whidbey Playhouse’s “The Hollow,” playing through April 29 displays the features of this Oak Harbor company: a large cast, good production values (costumes, lighting and set) and a 1950s Agatha Christie production.

Lucy Angkatell has invited her extended family to her estate for the weekend, along with Dr. John Cristow and his wife, Gertie. The former are old money and Cristow is a successful doctor. Lucy (Ingrid Schwalbe, well accented, convincing and continually amusing) is the askew yet clever matriarch the household revolves around. Cristow is the center of attention and action. David Penrod’s low-key performance belies the charismatic, confident and philandering nature of the character. Wife Gertie’s low key, self-deprecating, halting nature is ably offered by Lisa Judd, also the assistant director.

Desirae Bradley, as the maid, and David Gibbs as Detective Sgt. Penny, offer nuanced, character-defining performances, Bradley as an energetic, movie-star-infatuated servant, and Gibbs as a subtle, attentive underling.

In typical murder theater fashion, there are plenty of suspects when Cristow, alone on stage for an instance, is shot from the wings, the gun slid onto the stage. Gertie and family flock into the living room instantly. The plot shows a variety of romantic entanglements, longings and jealousies, including film star Veronica Craye (the assertive Shawna Wilson), in to shoot a film..

Director Kevin Meyer has the cast crisply moving on and off stage in various combinations, like pieces on a chess board. Several of author Christie’s characters have motives for shooting Cristow. Between their one-on-one conversations and Detective Calhoun’s persistent questioning (Ben Honeycutt in a dogged, accented performance), suspects are eliminated.

In the final scene the murder is not solved but revealed, though there are end of the drama surprises for both romantic coupling and culprits.

Lucy’s dialogue early on, describing cousin Edward as dreadful and ghastly as a guest, insinuates dark deeds are in the offing. The author is true to her words.

The music and costumes setting the action at a 1960s Virginia estate is a fine substitution for England in 1951 (play adapted from the 1946 novel).

The morning and evening lighting at scene changes is well done, as is the 1960s soundtrack, designed by Grace Hannold, Jim Riney and Meyer. Likewise, Julia Locke’s costumes define the 1960s period.

“The Hollow” plays through April 29. Performances are Thursday-Saturday, 7:30 p.m. and 2:30 p.m. Sundays.

For tickets: 360-679-2237 or [email protected]

‘The Hollow’ a solid who-done-it at Whidbey