Murder at Ackerton Manor pays homage to Agatha Christie with a puzzle box of laughs
iPhoto caption: Headshot of Stephen Gallagher
“It’s Agatha Christie meets Mel Brooks.”
That’s playwright and director Steven Gallagher’s description of Murder at Ackerton Manor, a comedy homage to the mystery novels of Agatha Christie sure to leave audiences dying of laughter when it opens on June 12 at the Lighthouse Theatre in Port Dover.
“It’s set in 1950 on a dark and stormy night in a remote mansion,” Gallagher explained in a Zoom interview. “Megan Cinel, our set designer, is so collaborative and such a brilliant young artist. She came up with this beautiful, Gothic English country home set that looks like somebody’s real [house]. The detective is a French-Belgian detective,” which Gallagher says is a reference to Christie’s iconic character Hercule Poirot.
“All the tropes are in there,” Gallagher assured. “There’s a German professor, a dowdy British monarchist, a Southern belle.” Naturally, a murder ensues, and the culprit must be found.
Step aside, Kenneth Branagh — Ackerton Manor is far from a straightforward adaptation of Christie’s novels. Virtuoso actors Eliza-Jane Scott (Lighthouse’s Jack and the Beanstalk), Andrew Scanlon (Drayton’s Peter Pan: The Panto), and Adrian Shepherd-Gawinski (Tarragon’s The Hooves Belonged to the Deer) play a total of seven roles, with quick changes and ridiculous accents galore.
“[Scanlon,] who plays the murder victim, also plays the detective,” Gallagher said. “He goes back and forth in flashbacks between the two. Adrian Shepherd-Gawinski, who’s six-foot-five, plays the Southern belle. [The costume changes] aren’t just hats. The actors leave and come on in full drag, then they leave and they come back as the next character. It’s a full quick change: costumes, wigs, everything. It’s an extra layer of fun and skill for the actors to really dig into.”
Murder mysteries aren’t a joke to Gallagher: they’re what introduced him to theatre in the first place. “I grew up in Quebec, in a small English town called North Hatley,” Gallagher shared. “It’s sort of like Muskoka in Ontario, in that a lot of wealthy people come from Montreal and go to this small town. It’s one of the only places [in Quebec] that has an English-language summer stock theatre, called the Piggery.”
Gallagher would go to the Piggery with his mother, and one of the first shows he ever saw there was a murder mystery. Murder at Ackerton Manor is “an homage to my mom,” Gallagher continued, “and those times we spent together watching — probably not great plays — but the shows that really got me into loving, and going to, the theatre.”
When he began work on Ackerton Manor, Gallagher dove back into the genre he adored as a child.
“I brought back all the [Agatha Christie] books that I had from when I was a kid,” said Gallagher. “I also watched about 50 episodes of Agatha Christie’s Poirot, and got my hands on every single murder mystery I could find, even Stephen Sondheim’s [film] The Last of Sheila that he wrote with Anthony Perkins in the ‘70s. I would get all these locked-room mysteries, [a genre in which it seems impossible for a killer to have entered and left a crime scene,] and try to figure out what I could steal. What are the tropes that are all the way through these things?
“My poor partner was like, ‘Are you up again to one o’clock watching another Miss Marple?’,” Gallagher laughed. He shared that his all-time favourite Christie novel is The Murder of Roger Ackroyd, about the mysterious death of a wealthy widower. “It sort of turns the genre on its ear,” he teased.
With its fusion of hijinks and homicide, Ackerton Manor is also a reimagining of not one, but two classic genres. Was blending farce and murder-mystery a difficult task for the playwright-director?
“[Comedy and mystery] are similar,” explained Gallagher. “Both genres need to be tightly plotted and tightly written.” He added that he’s done some tinkering with the mystery at the heart of Ackerton Manor since the play’s premiere last year at the Bancroft Village Playhouse in Bancroft, Ont. “I’ve changed a couple of things plot-wise,” he said, “just to make sure that the [murderer] isn’t something that everybody guesses; or even if they do guess it, they might not know why until the end. People love that puzzle box.”
Gallagher hopes Murder at Ackerton Manor will encourage audience members to check out Lighthouse Festival’s other offerings, and demystify how much exciting theatre is happening throughout Ontario.
“People who don’t even think they like theatre might come [see Ackerton] and say, ‘what else would I love to see?’,” he said. “Not just [a farce] but something more challenging too. We’re so used to seeing stuff in Toronto, which is amazing; but there’s a lot of other stuff happening in smaller spaces that people are flocking to.”
Murder at Ackerton Manor runs from June 12 to 29 at the Lighthouse Theatre in Port Dover, and July 3 to 14 at the Roselawn Theatre in Port Colborne. You can purchase tickets here.
Nathaniel Hanula-James
Nathaniel Hanula-James is a multidisciplinary theatre artist who has worked across Canada as a dramaturg, playwright, performer, and administrator.
LEARN MORE
iPhoto caption: Members of the company in Cymbeline. Stratford Festival 2024. Photo by David Hou.
“I warn my friends before they come — I’m like, ‘it’s a long show!’” says Jordin Hall, who plays Posthumus in Stratford's Cymbeline. “And then by the end, they’re all usually like: ‘it didn’t feel that long.’ That’s the greatest compliment they can give us — that we kept them hooked for three hours of crazy, not-often-done Shakespeare.”
iPhoto caption: Sara Topham in Hedda Gabler at the Stratford Festival. Photo by David Hou.
Gatekeep, gaslight, girlboss: The delight of female rage in theatre
Personally, I support women’s rights and women’s wrongs — especially when it comes to my girl Hedda. And it seems that at least two Ontario directors share my viewpoint, with Hedda Gabler opening twice in the same month at Stratford and at Coal Mine Theatre in Toronto. What makes her story so appealing?
iPhoto caption: Starr Domingue and Olivia Sinclair-Brisbane in Something Rotten! at the Stratford Festival. Production stills by David Hou.
Yes, those standing ovations at Something Rotten! are real — just ask Portia and Bea
Two mid-show standing ovations? Really? Yes, really. Or so say the leading ladies of Something Rotten!. For those who’ve spent the summer living under a rock, Something Rotten! (written by...
iPhoto caption: Wendy and Peter Pan production still by David Hou.
Wendy and Peter Pan explores the power of love — and grief
“Part of what gets me through the very emotionally tumultuous ending of the story is remembering that Wendy has to live for the family members who are still there,” says Cynthia Jimenez-Hicks, who plays Wendy in the Stratford Festival’s production of Wendy and Peter Pan. “I just think that that's such a beautiful part of this adaptation.”
iPhoto caption: Virgilia Griffith in rehearsal for Rosmersholm with Jonathon Young. Photo by Dahlia Katz.
‘After this play, you’ll be changed’: Inside the incendiary world of Rosmersholm
“We get to dig into something in the present moment and also reflect on the world and our global community,” says actor Virgilia Griffith. “That's what makes it special, that we're doing the play in 2024 and that it will be in conversation with the world.”
iPhoto caption: Beck Lloyd and Qasim Khan in Hamlet (Dream in High Park). Photo by Dahlia Katz.
A beginner’s guide to Dream in High Park
Looking for a crash course on Toronto’s favourite outdoor theatre tradition? We have you covered!
iPhoto caption: Headshot courtesy of Davinder Malhi.
Speaking in Draft: Davinder Malhi
“When I was younger — around when I graduated theatre school in 2020 — queerness meant identity and identity politics,” says multi-hyphenate Malhi. “In many ways, it still does, but I’ve gotten to a place now where I don’t desire to discuss the identity part of queerness.”
iPhoto caption: Images courtesy of Canadian Stage.
At Canadian Stage’s 41st annual Dream in High Park, everyone is Hamlet
“There's something really democratic about outdoor theatre,” says Canadian Stage artistic director Brendan Healy. “Indoor theatre spaces are awesome, but they can sometimes be intimidating and limited. For many people, Dream in High Park is their one trip to the theatre that they do every year. For many young people, it’s their first experience of theatre.”
iPhoto caption: Theresa Cutknife headshot by Dahlia Katz.
Speaking in Draft: Theresa Cutknife
“Of course, we all have to make money and make different sacrifices just to pay the bills, because this city is so horribly overpriced,” says Cutknife. “But why? Why do we have to suffer to feel like we’ve paid our dues to the industry?”
iPhoto caption: Photo courtesy of Guild Festival Theatre.
A beloved trio returns to Scarborough’s Guild Park in Three Men on a Bike
“What have I personally got to do with these guys?” asks director Sue Miner. “Nothing, and yet I love them and I love their journey. They just touch people to come along for the ride. That’s part of the draw for me. They [screw up] for us so we don’t have to. We can just sit and enjoy and laugh at their foibles. Anything that brings us all back to humanity is my hero right now.”
iPhoto caption: Derek Ritschel, director of Mary's Wedding and artistic director of Lighthouse Festival Theatre.
Mary’s Wedding promises to pack an emotional punch at Lighthouse Festival Theatre
“I liken it more to poetry than I do to your standard text of a play,” says Derek Ritschel, the director of Mary’s Wedding and the artistic director of Lighthouse Festival.
iPhoto caption: Photo courtesy of Erum Khan.
"[Buddies] is full of so many tensions," says Khan. "It’s full of so much history. I’m trying not to go in naively in a way that’s like, ‘let’s revolutionize this place and radically shift it overnight.’"
Comments