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The Mirror Crack'd

Years may pass and tastes may change, but Agatha Christie remains as fashionable as ever.

A polished performance that delivers a memorable classic crime tale

Christie’s ability to weave a story through an intricate cast of characters has meant that her legacy has remained as strong as ever. With Witness for the Prosecution and The Mousetrap both firmly at home in London’s West End, it’s clear that audiences can’t get enough of classic British murder mysteries.

With a brand new adaptation by Rachel Wagstaff, The Mirror Crack’d combines classic Christie storytelling with an exceptional cast to deliver an atmospheric gem of a show.

Susie Blake is a sublime Miss Marple and could very well have popped out of a Sunday afternoon TV adaptation – it’s a rare ‘role she was born to play’. An engaging Oliver Boot as Chief Inspector Craddock and Joe McFadden as Jason Rudd were part of a strong ensemble alongside several other highlights – of particular note was Chrystine Symone offering an emotionally charged support as Lola Brewster whilst Veronica Roberts is particularly enjoyable as Dolly Bantry.

Another star of the show is Sophie Ward, who takes on the role of the faded actress, Marina Gregg. Though Gregg is a classic Christie character - Ward’s performance is no cliché, and gives Gregg a genuine intrigue that will leave you guessing her true motive till the very end.

Director, Philip Franks, uses the story’s twists and turns to transport the audience back to the night of the party with some clever staging that keeps the build-up from dragging. There’s smart staging from designer, Adrian Linford, and the glass hallway structure helps blend the scenes and action together with a deft touch.

Understandably, for a Tuesday night in Eastbourne, this is a conservative production. But given the nature of this production, playing it with a straight bat seems very understandable.

The Mirror Crack’d is a polished performance that delivers a memorable classic crime tale. The twists and surprises comes from the plot, rather than the production, but you’ll enjoy an engrossing evening with this excellent production.

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Reviews by Nicholas Abrams

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Since you’re here…

… we have a small favour to ask. We don't want your money to support a hack's bar bill at Abattoir, but if you have a pound or two spare, we really encourage you to support a good cause. If this review has either helped you discover a gem or avoid a turkey, consider doing some good that will really make a difference.

You can donate to the charity of your choice, but if you're looking for inspiration, there are three charities we really like.

Mama Biashara
Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. They give grants to set up small, sustainable businesses that bring financial independence and security. That five quid you spend on a large glass of House White? They can save someone’s life with that. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids.
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Theatre MAD
The Make A Difference Trust fights HIV & AIDS one stage at a time. Their UK and International grant-making strategy is based on five criteria that raise awareness, educate, and provide care and support for the most vulnerable in society. A host of fundraising events, including Bucket Collections, Late Night Cabarets, West End Eurovision, West End Bares and A West End Christmas continue to raise funds for projects both in the UK and Sub-Saharan Africa.
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Acting For Others
Acting for Others provides financial and emotional support to all theatre workers in times of need through the 14 member charities. During the COVID-19 crisis Acting for Others have raised over £1.7m to support theatre workers affected by the pandemic.
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Performances

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The Blurb

In 1960s England, a wind of change is blowing through the land. It has even reached the sleepy village of St Mary Mead. There’s a new housing estate, which alarms the villagers as much as it intrigues them and, even more unsettling, a rich American film star has bought the manor house. Jane Marple, confined to a chair after an accident, is wondering if life has passed her by. Then there is a shocking murder, and Miss Marple must unravel a web of lies, danger and tragedy.
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