Wild Goose Theatre’s Black Coffee is a confident and engaging staging of Agatha Christie’s first play, one that understands the delicate balance between wit, tension and theatrical pacing that Golden Age detective fiction demands. Rather than leaning into nostalgia alone, this production treats the material as living drama, and the result is an evening that is consistently entertaining and, at key moments, genuinely gripping.
The play opens in the study of scientist Sir Claud Amory (Richard Readshaw), a room that quickly becomes both crime scene and crucible. The set is functional rather than elaborate - a well-appointed 1930s interior dominated by a desk and papers, but it serves its purpose effectively, allowing the actors and text to remain central. Early exposition is handled with clarity and surprising energy. What could feel static instead moves briskly, as the ensemble establishes relationships through subtle physical choices: a tightly clasped hand, a slightly delayed response, a glance held just a moment too long.
The first ripple of suspense - the formula for Sir Claud's new atomic explosive going missing - produces audible murmurs in the audience, and from that point the production maintains a steady build. When Sir Claud himself is found dead, the murder is not sensationalised; instead, the shock lands because of the stillness that precedes it. A sudden silence, a frozen stage picture, and then the collective intake of breath in the room, the audience was visibly alert, leaning forward rather than settling back.
The entrance of Ashley Harvey as Hercule Poirot marks a tonal shift. The performance avoids parody, opting instead for precision and restraint. Poirot’s authority grows gradually, and this measured approach proves effective. His small gestures, the adjustment of gloves, the deliberate smoothing of a moustache, drew gentle laughter, but more importantly, they reinforced the sense of a mind always calculating. The humour is understated rather than broad, and the audience responded accordingly: amused, attentive, but never distracted from the stakes.
Craig Finlay as Captain Hastings provides warmth and accessibility. His occasional confusion earns genuine laughs, particularly in a mid-play exchange where he confidently misreads a clue, only to be gently corrected by Poirot. The laughter in that moment felt affectionate rather than mocking - a sign that the chemistry between the two actors is working well. Their partnership grounds the play emotionally, preventing it from becoming overly cerebral.
As suspicion circulates among the household, the supporting cast maintain tension with well-modulated performances. No character tips into melodrama; instead, anxiety is conveyed through tightened posture, sharpened tone or carefully controlled stillness. One especially effective moment occurs when a suspect closes a drawer just as Poirot enters, the sharpness of the movement produced a perceptible shift in the audience’s attention. It is in these physical details that the production excels.
The second half tightens considerably. Clues are layered with clarity, and red herrings are placed deftly enough that several audience members were audibly surprised by the eventual reveal. The climactic gathering of suspects is paced with confidence: Poirot moves methodically from one character to the next, and each denial or protest subtly alters the rhythm of the scene. Here, the production demonstrates real control of dramatic tempo. The final revelation produced a satisfying ripple of reaction, the kind of collective murmur that signals a twist both surprising and retrospectively logical.
What elevates this Black Coffee is its tonal discipline. The humour lands without undercutting tension, and the suspense builds without tipping into melodrama. While the production does not radically reinterpret Christie’s work, it doesn’t need to. Instead, it trusts the structure of the play and focuses on performance detail, pacing and ensemble cohesion.
The result is a thoroughly entertaining evening: sharp, well-acted, and consistently engaging. At its best moments, it holds the audience on the edge of their seats and, fittingly for Christie, leaves them delightfully outwitted.
For audiences who appreciate classic detective fiction, this production offers precisely what it promises: a well-made mystery, thoughtfully performed, and satisfyingly resolved.