PTC’s DIAL M FOR MURDER is a Cinematic Thriller

SALT LAKE CITY — In high school, my friends loved movies like The Others, What Lies Beneath, and The Ring, while my overactive imagination was so sensitive to every jump scare that I “watched” each film by looking toward the floor instead of the screen. I don’t do horror—but I love a good psychological thriller, especially in a theatre. The physical presence of and proximity to the action makes everything more exciting, and Pioneer Theatre Company’s Dial M for Murder does not disappoint.

(Slight spoilers for the plot ahead, so if you’d prefer to go in totally blind, skip the next paragraph.)

Set in the London flat of Tony (Dan Domingues) and Margot Wendice (Awesta Zarif), Dial M for Murder is less “whodunit” than “how will she get out of it?!” When Tony discovers his wife having an affair with crime writer Maxine Hadley (Lucy Lavely), he hires Lesgate (Aaron Cammack), an old college classmate, to kill Margot so he can collect on the estate. Unfortunately for Tony, Margot manages to get her hands on a pair of scissors, and it’s Lesgate who ends up dead, and Tony is left improvising to try and collect on his wife’s considerable estate before Margot, Maxine, and Inspector Hubbard (Peter Howard) can crack the case.

Michael John Garcés’ direction is wonderful. Dial M is a dialogue-heavy show, often between two characters, which can result in scenes that drag and plot points lost—but Garcés keeps things paced well and gives each character dimension and depth. Scenic design by James Noone is stunning and supported well by Tom Ontiveros’ lighting and Daniel Perelstein Jaqueete’s sound design. The murky mirrors that serve as walls and ceiling for the flat give an impression of being constantly watched, while the lighting and sound both provide a cinematic foundation for the action that supports the building intensity throughout. The entire effect is fantastic and meticulously done. Costumes by Patrick Holt are lovely (though I do wish Margot’s final outfit had either shown a bit more wear and tear after her time in jail, or been changed).

The casting is similarly strong. As Margot, Zarif is sublime. Zarif’s performance of Margo’s descent into and (at least partially) out of trauma makes her a heroine worth rooting for. She has enormous star quality and it’s truly difficult to to watch her struggles intensify. Wendice’s Tony is a meticulous and impeccably controlled throughout. Watching him think on his feet and shift winds perpetually back into his favor is infuriating and a true tribute to Wendice’s skill as actor. His scenes with Cammack were particularly effective, and the way he patiently weaves Lesgate into the job is incredible. Cammack is great, and makes Lesgate just sympathetic enough that I was almost sorry to see him go. (Almost.)

Awesta Zarif, Peter Howard, and Lucy Lavely in Pioneer Theatre Company’s “Dial M for Murder” | Photo: Tim Fuller

Howard’s Inspector Hubbard provides a fantastic foil to Tony. At first feeling a bit bumbling and perhaps even naive, it’s soon clear that Hubbard is far more capable than he originally appears. He makes use of every moment he’s on stage and was a clear audience favorite.

The most captivating performance of the night for me was Lucy Lavely’s Maxine Headley. Originally Mark Headley, Hatcher’s update to the original text provides a foundation for both heightened stakes (homosexual relationships were illegal in England in the 1950s) and heightened reward. This shift now means that Margot is no longer a prop in her own story, with Maxine and Lucy working on more equal footing to work out the truth. (The play was adapted by Jeffrey Hatcher from Frederick Knott‘s original.) Lavely is funny, dynamic, and full of heart as she fights for Margot’s innocence. Her incredibly focused and nuanced performance makes the eventual victory against Tony more rewarding. Through Lavely, Dial M becomes more than just a story of who to trust—it transforms into a story of empowerment for both women.

It’s worth noting that the confrontation between Margot and Lesgate at the end of Act I is intense. Though tastefully handled, it doesn’t hold back punches and may be unsettling for some audience members.

Dial M for Murder is thrilling and an excellent example of how fantastic theatre is when everyone on and off stage is firing on all cylinders. I’ll remember this one for a long time.