Her counterpart, Boswell, is a terrific foil, a man who is simply satisfied with a stiff drink and evening newspaper perusal. As the grande dame of the abode, the veteran DeHart is a delight with her sharp line delivery and keen understanding on how to make something funny without trying. The play does a bang-up job (no pun intended) of highlighting comic timing. It is up to some serious sleuthing by Inspector Colquhoun (Patricia Tyler) and Detective Penny (Andre Leben) to muddle through the mess and take down the culprit. All these connections are so incredibly blurred, by the time we reach the murder, everyone in the house is a plausible suspect, including the maid, Doris (Erin Southard), and butler, Gudgeon (Tom Gough). It does not take long to see that Cristow is lovingly examining more than just his patients, which include accomplished sculptor Henrietta Angkatell (Anne Yumi Kobori) and former lover Veronica (Laura Domingo), a woman who moves through space as if playing the final scene in every Hollywood blockbuster.Īdding to the morass is Edward Angkatell (Kyle Dayrit) and his romantic interest, Midge (Alicia Adame). And their guests include Harley Street doctor John Cristow (Damian Vega) and his highly emotional wife, the overly-cheery Gerda (Caitlin Lawrence Papp). The homeowners are regal Sir Henry Angkatell (Ken Boswell) and his delightfully ditzy wife, Lucy (Karen DeHart), planning for a guest-filled weekend. Just ask Midge (Alycia Adame), whose country house weekend goes awry in this production of “The Hollow” by City Lights Theater. Agatha Christie’s plays are always full of surprises. Plenty of posh people behave badly - a wink, a shrug, the dart of an eye potentially tell a different tale in the midst of unflinching self-preservation. We learn of the victim, but the joy lies in exploring which guest might be the assailant. Murder is the point for any of Christie’s social gatherings. These colorful miscreants throw themselves into an environment where danger and suspicion lurk around every corner.ĭespite moments of lull in the second half, which follows a tight first act in a nearly three-hour run time, the San Jose show’s production’s hallmark is the firmly-committed and self-assured performances, led by director Doll Piccotto’s well-balanced staging. There are actors and maids, butlers and lovers, even a doctor who finds more interest in illnesses than the humans who carry them. There is a haunting chill emanating from the country house and the individuals in the delightful City Lights Theater Company production of Agatha Christie’s 1951 mystery, “The Hollow.”Ĭharacters deftly maneuver through the spacious dwelling, each inhabitant highly skilled in the art of narcissism.
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