The plot of this play revolves around the gathering of the last six living descendants of Cyrus West, famous psychologist, at an isolated mansion on Bodmin Moor. It has been twenty years since Cyrus died but this is the night that his will and inheritance will be revealed.
This staging draws upon elements of horror, crime mystery and comedy. When John Willard’s mystery drama was first performed in 1922, the play had the power to scare the audience. It broke records for the genre when first performed and was filmed in various formats. Modern audiences are more au fait with the scare tactics employed by writers and directors, but the production still has the ability to make you jump. Claps of thunder come out of nowhere, making the audience start, as well as the characters. There are moments of tension, but the comedic aspect is more prominent than in the original.
Director Roy Marsden brings us a range of characters who are generally well-drawn, although they also have aspects of character that change or develop over the course of the play as different motivations are revealed. The development of story runs parallel to character development.
A central character is author Annabelle West, played by Tracy Shaw, whose inheritance becomes the focus for others to undermine her. Shaw, known to the audience as Maxine Peacock from Coronation Street, demonstrates both assured elegance and vulnerability.
A trio of male characters, Anthony Costa as Paul, Gary Webster as Harry, and Ben Nealon as Charlie, compete for the attention of the audience and Annabelle. We are constantly guessing their motivations until the final denouement.
The least developed character is Cicily Sillsby, played by Priyasasha Kumari. The character’s inclusion in 1922 was probably more plot device than anything else. A story about a missing Indian jewel necklace is added weight by her presence. She does acknowledge her dual heritage as Princess Surinder as the play progresses, but it did jar that she comes across as something of a secondary character despite being present as a descendant of Cyrus West.
A revelation is Britt Ekland as the housekeeper, Mrs Pleasant. Her photo in the programme is still very glamorous but her stage presence is more Mrs Overall than Bond girl. She has been maintaining the house for the previous twenty years, has become part of the mansion. She contributes various dramatic elements and narrates the house’s history, providing comedic elements and acting as a chorus, warning about evil.
The lighting design, by Chris Davey, contributes significantly to the impact of the production. Cool blue lighting is used to provide an otherworldly atmosphere to some scenes. Sound and light often work in unison. The sound design, by Dan Samson, goes from stirring to eerie.
Leeds Grand Theatre’s generous stage is well utilised, with the large library of acts one and two transformed into a more claustrophobic bedroom for the second act. The change in scene heightens the tension, and although the ‘invader’ is more comedic than horrific, there is a sense of foreboding throughout the act.
The producer, Bill Kenwright is making a career if reviving classic plays. He initially spent ten years with the Agatha Christie Theatre Company, reviving the original stage plays of the timeless author. With the Classic Theatre Company, he is looking to rejuvenate a wider range of classic mysteries for the stage.
The production plays differently to a modern audience, but there is much in The Cat and the Canary to enjoy.
Photographs provided by Leeds Grand Theatre.
