Dial “M” for Murder at St. Louis Repertory Co.

This is a must see!

Murder on call It opened at the St. Louis Rep and was a triumph through and through. It is certainly one of the most perfect productions I have seen there in years. The house was happily full. There was an atmosphere of real excitement and at intermission the lobby was filled with a throng of theater lovers chatting enthusiastically.

Frederick Knott's show premiered in London in 1952 and was performed on Broadway later that year. The classic Hitchcock film (starring Ray Milland and Grace Kelly) was released in 1954. Since then, there have been various incarnations around the world on television and in knock-off films. This plot makes sense!

I saw Hitchcock's film in 1954, but over the decades I had forgotten what a superbly crafted piece of work the screenplay is. It's like a fine Swiss watch. (The playwright also wrote the screenplay.)

It's a crime thriller – but the question is not “Who did it?”, but “Will he get away with it?” The film is set in a posh London apartment in the 1950s. Tony, a recently retired tennis champion, plans to kill his wife Margot because she is having an affair with Max, an American crime writer. A divorce would leave him penniless because she is the one with the money. Tony has come up with the “perfect crime”. He will blackmail an old college acquaintance into committing the murder for him.

But (as Bobby Burns so aptly said), “The best-laid plans of mice and men often go awry.”

It's a complex plot that keeps Tony and the wily Inspector Hubbard on their toes, using clever imaginations to feint and parry. And Tony's growing embarrassment is a joy to watch. If you were reading the plot, it would be hard to follow, but on stage, the action clears everything up as clues are precisely placed – or removed – or discovered. Everything becomes clear.

The cast is led by Jordan Coughtry as Tony. His performance is out of the realm of ideal forms. That's how perfect it is! He is physically graceful and precise, his accent is flawless, and his keen sense of comedy and timing is largely responsible for the many laughs this production surprisingly finds in the script.

Coughtry is heavily supported by Jenelle Chu as Margot and Jason Heil as her lover Max. Ms. Chu seems born to wear that chic red dress, and she shows a beautiful vulnerability as her world falls apart. Mr. Heil brings radiant charm and energy to the character, and later in the evening he shows dogged determination in pursuing justice. In their first scene together, however, there seemed to be little chemistry or history between these lovers. Max seems to be one of those “always on stage” types at this point – a style you'd expect at the beginning of an affair rather than the end.

DwayThe young Weynand plays the old college friend who is forced into crime. He conveys the anger and frustration of the helpless petty criminal in a solid and highly credible way.

Inspector Hubbard is played by the reliably good Eric Dean White. He investigates calmly and thoughtfully. Behind this rather bland appearance lies a razor-sharp mind that quickly grasps even the smallest details. And in the end, of course, Inspector Hubbard ensures that justice is done just in time.

And we all go home happy!

The show is most likely set in the 1950s – back when you could dial “M.” Margery and Peter Spack's set is among their best – and that's a high bar. It is meticulously accurate to the period, down to the smallest detail.

Ruby Kemph’s costumes are extremely attractive and fitting.

Minjoo Kim designed the lighting, which was wonderfully atmospheric and with great attention to detail – always providing just enough light to maintain the mystery and our great interest.

And the sound! Amanda Werre has designed a soundscape that is full of the most wonderful, noble and atmospheric slow jazz I have ever heard. And everything fits the times perfectly. This “Stella by Starlight” is simply heavenly!

The sound technology is so artfully handled that every syllable of the actors can be heard crystal clear and the jazz sounds richer and more “present” in the excellent acoustics of the hall than one could ever imagine.

Director Melissa Rain Anderson has put together a nearly perfect show. The pacing is tight, the movements and timing are skillful and precise. It's quite captivating.

Ms. Anderson is a real asset. She has also directed for the Rep:

• The game that goes wrong (a far less admirable script, but an enormous challenge for a director) and
• The Wolves (a much smaller show, but one that requires excellent timing and extremely realistic acting).

Murder on call is a highly satisfying production. It doesn't penetrate your soul, it doesn't explore metaphysical depths, it is thankfully apolitical – but it will engage your mind intensely. And it shows all aspects of the theater arts at their best.

You will go home happy and satisfied!

The Rep seems to be rising like a sphinx from its own ashes. Let's face it, the last few years have seen a slump in subscribers and the loss of many talented staff. In their new artistic director, Kate Bergstrom, they seem to have found a leader who understands their audience well and whose sole goal is to create the best theater.

(Photos by Jon Gitchoff)

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