Reviews
A Thousand Words Review
Dial M for Murder is a suspense thriller that began as a stage play by Frederick Knott in 1952 and later adapted by Alfred Hitchcock into the 1954 film starring Grace Kelly. Regardless of medium, they share the same central story: a husband devises a murder plot against his wife, but the plan unravels in unexpected ways. It is a tightly constructed thriller, built for stage suspense, with much of the tension coming from dialogue, timing, and the limited setting. The plot follows Tony Wendice, who tries to arrange his wife Margot’s murder after learning of her affair, but the attempt goes wrong and he tries to frame her instead.
Beginning with the biggest wow-factor of Galleon’s production: Director and Production Designer Warren McKenzie has convincingly chosen to pay homage to Hitchcock through presenting the set, costumes, props, lighting, make up, and set dressing in a black and white/grayscale tone. Apart from one dress and necklace worn by Margot (Genevieve Hudson), the visual language remains strikingly monochrome throughout, creating a strong sense of style and cohesion. Post-performance, there was a buzz about the relevance of this being the singular use of colour throughout the entirety of the play, with many interpretations and theories attached to it, which only added to the production’s impact and generated welcome discussion.
Calling the above the biggest wow-factor doesn’t detract from the wow factor of the cast. With a strong cast of five, they work effortlessly together to ensure the heavily dialogue-driven production went off without a hitch. The ensemble has a strong understanding of pacing and rhythm, and each performer contributes to the mounting tension in a way that feels controlled and assured.
Joshua Coldwell delivers a Tony Wendice that is controlled, polished, and deeply unnerving. He captures the character’s smooth charisma and calculating intelligence with precision, making Tony’s polite exterior feel increasingly sinister as the performance progresses. Coldwell never overplays the villainy, instead allowing the character’s menace to seep through, always attempting to be the smartest person in the room through small shifts in tone and timing, keeping the confidence razor-sharp throughout. It is a performance that relies on subtlety rather than excess, which makes it all the more effective.
Patrick Clements brings warmth and clarity to Max Halliday, giving the character a grounded, intelligent presence that balances the production’s darker tensions. His performance has an easy assurance that makes Max feel genuinely credible as Margot’s lover and as the character who slowly starts to sense that something is wrong and inevitably helps save the day. Clements handles the character’s transition from affable visitor to quietly determined investigator with subtlety, never forcing the shift. The result is a Max who feels observant, sympathetic, and quietly essential to the story’s momentum.
Genevieve Hudson gives Margot Wendice a strong emotional core, shaping her as far more than the victim at the centre of the plot. She balances vulnerability with intelligence, allowing Margot’s shock, fear, and resilience to unfold in a way that keeps the audience invested. Hudson’s performance is especially effective in her accent work and in the moments where Margot’s composure is tested, maintaining a believable human fragility without losing the character’s inner strength. She brings just enough elegance and tension to the role to ensure Margot remained compelling at every turn.
Gary George’s Inspector Hubbard is a great addition to Act Two in the production, bringing calm authority and sly wit to the role. He plays the detective with unassuming ease, letting Hubbard’s sharp instincts reveal themselves gradually rather than announcing them too early, giving the character real dimension: part practical investigator, part quietly formidable presence who never seemed rushed, even when the truth was abound. A real Agatha Christie character. George’s performance adds welcome texture and lifts every scene he appears in, giving the second act a steadying presence that helps drive the suspense toward its conclusion.
Simon Lancione gives Captain Lesgate a strong entrance and equally strong performance throughout Act One until his untimely demise, becoming memorable in a comparatively smaller but crucial role. Lancione gives the character just the right mix of nervousness, opportunism, and vulnerability. He suggests a man who is already compromised before the action properly begins, although we don’t know it until the reveal, which makes the character’s involvement in Tony’s scheme both believable and unsettling. Lancione’s work is efficient and effective, with enough tension in the performance to make Lesgate feel like a genuine part of the production’s machinery of suspense.
On the technical side, there were minor cue issues with the lighting. However, the lighting design and incorporation into the practical elements within the set were effective. The sound effects were aplenty, giving additional space to what was going on outside of the stage setting; however, there could have been more variation in repeated sounds for different characters and their motivations for exiting or entering. Special mention must go to the uncredited voice extras that added depth and atmosphere to the soundscape.
Unfortunately, there was an incident where the backstage crew undertaking the set change during Act Two halted the pace of the production. While these moments did not derail the overall experience, they did briefly interrupt the tension that had been so carefully built up to that point.
This is a sharply acted, confidently staged thriller whose ensemble keeps the suspense taut from beginning to end.
Reviewed by Andrew Broadbent, 8th May 2026.
Stage Whispers Review
From the moment one steps into the Domain Theatre for Galleon’s latest offering Dial M for Murder, Frederick Knott’s classic play and Alfred Hitchcock’s movie adaptation, we are captivated by the set. Completely in “Film Noir” style - EVERY element transports us to the 1950’s to a Hitchcock- realm of black, white and grey. The use of stark white LED lighting against this monochromatic set is jarring and clearly, intentionally so. Our nerves are taut as we await the arrival of the players in this famous thriller. We are not disappointed, as this talented group of actors lead us on a circuitous journey through a sinister and ingenious play with aplomb.
Warren McKenzie is a talented director in Adelaide theatre and his expertise shows as he guides the cast through the very melodramatic plot cleverly, ensuring we are invested at every moment. Whilst Act 1 is quite expository, this is by necessity as the plot is revealed and we wonder how on earth this will play out. In a standard ‘murder mystery’ one spends much of a play trying to decide ‘whodunnit’, however in Dial M for Murder, we know who the criminal is early in the play and what he is plotting, but are constantly troubled that surely this cannot all go to plan- is there really such a thing as a perfect murder? Interestingly early in the play, Max Halliday (Patrick Clements), an American murder mystery writer, foreshadows what is to come stating that on paper he can plan a murder “better than most people”, but “in stories things turn out as the author plans them to - in real life they don’t – always”.
Joshua Coldwell is well known to Adelaide theatre as a talented character actor. He is Tony Wendice, a recently retired tennis player who plots revenge for his wife Margot’s (Genevieve Hudson) infidelity as well as seeking to cash in her will.
His quest to employ the dubiously shady Captain Lesgate (Simon Lancione) to murder his wife, entangles him in a web that is woven with sociopathic ingenuity. As the play progresses, we see him constantly duck and weave (pardon the pun) again and again as he adjusts his plans to suit the changing circumstances. It is wonderful to watch Josh in action- he has the ability to ‘personality switch’ flawlessly, with a dropped smile, a side glance and charismatic grin. I was equally entranced as at times horrified, by his maleficence. Wonderful acting and kudos for the enormous number of lines learned!
Patrick Clements, likewise, another very experienced and watchable actor, is Max Halliday, the writer and lover of Margot. His accent is excellent as a New Yorker and he brings passion and charisma to the role. His participation in the eventual unravelling of the plot is a joy to watch, showcasing his deep love for Margot despite having to show restraint in his physicality when around her onstage.
Genevieve Hudson embodies the understated elegance of the 1950’s character of Margot. Women of this era were written as more delicate and fragile, but Hudson makes the character her own with an impeccable clipped accent, bursting onto the dull grey stage in the famous Grace Kelly red dress. Using this against the backdrop is a wonderful directorial choice, showing us the important role that the affair has had- she is depicted as the scarlet woman when in reality the real evil lies in her husband Tony. She is lovely to watch.
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imon Lancione impressively plays Tony’s old schoolmate Lesgate and as the dialogue unfolds, we discover he is really a conman who has more identities than a hydra. He is the perfect candidate to be blackmailed to undertake the murder. Lancione is adept at playing characters with an edge. His movements and melodramatic physicality and glances are excellent.
To round out the cast is the very talented and watchable Gary George. He doesn’t appear until Act 2 as the character of Inspector Hubbard, but it is well worth the wait! As he starts to put the pieces together, we revel in the way he keeps the players on edge with his Columbo- esque sharp observations. A standout performance.
This show has many technical elements that tie it together into such an enjoyable and creative package. The lighting design by Trish Winfield, brilliantly creates the unease needed and the use of lamps and light fittings adds to the 1950’s mood. The set design by Warren Mc Kenzie and Kaitlyn Meadows as mentioned earlier, is a masterpiece and worth the ticket price alone. The set dressing by Elaine Latcham and Mary Cummins is detailed and era apt, down to blackened plants!
Costuming likewise, is excellent- every outfit has been carefully made or sourced by Helen Victoria and works extremely effectively- particularly that red dress!
The sound design and utilisation of original music from the 1954 Hitchcock movie is a masterstroke, as it built tension and mood extremely effectively.
In summation, DIAL Galleon Theatre for your ticket - this is a wonderful production not to be missed - every twist, every turn, every element of Dial M for Murder is a sheer delight!
Reviewed by Shelley Hampton 08/10/2026
That Guy in the Foyer Review
I wasn’t sure what to expect, but damn, I thoroughly enjoyed this rendition of the terribly spiffing, tally ho Brit plans to murder his wife besotted by a wisecracking yet classy American murder mystery. Is it camp and hammed up a little? Absolutely! As it should be. And it’s delightful.
Galleon Theatre Group’s Dial M for Murder is a masterclass in the symbiosis between characterisation, tight direction, stagecraft, and design.
Originally written for the BBC as a television series, the play became a hit when it premiered in London in 1952 and later that same year on Broadway. In his director’s notes, Warren McKenzie indicates that the company “worked to honour the suspense, performances and atmosphere of Hitchcock’s classic movie” released in 1954. And they do! The production design by McKenzie and Kaitlyn Meadows is simply superb. A London drawing room of the period is presented in greys and whites, transporting us into a chilling place where things unfold in the most devious ways. The impressive ensemble is attired in similar hues, with the striking exception of Genevieve Hudson as Margot Wendice, who appears in a magnificent scarlet dress. All aristocratic grace, charm, and fragility, Hudson’s Margot is every bit as elegant as Grace Kelly, who won numerous awards for the role in Hitchcock’s film.
The premise is deceptively simple. Tony Wendice, a former Wimbledon player in the days of amateur competition has married for money; lots of money. He’s a cad. Margot has had an affair with American murder mystery show runner Max Halliday, played with impeccable balance of Yankee swagger, brash humour, and romance by Patrick Clements. Wendice manipulates the transgressions of an old acquaintance, Captain Lesgate, compelling him to commit a crime that will result in a rather large windfall for the devious retired sports star. Things go pear shaped, Inspector Hubbard investigates, and all is revealed.
The chemistry between Clements and Hudson is palpable. No wonder Tony loses his mind with jealousy; I felt jealous for him! Coldwell is simply smashing as Wendice portraying him with great style, aplomb, and sinister charm.
I admired Coldwell’s portrayal of Rupert Murdoch in Theatre Guild’s 2023 production of Ink, and his award winning performance as Mooney, one of the last hangmen in Great Britain, in Red Phoenix’s Hangmen. A force to be reckoned with, Coldwell is well matched by Hudson’s nuanced Margot, a woman caught between, well, two hard places. Simon Lancione is utterly convincing as the kind of charming cad who makes Tony Wendice appear mildly honourable, while Act Two truly crackles into life when Gary George appears as the cheerfully brisk and keenly observant Inspector Hubbard.
Knott’s script is tight and nuanced and, in the hands of lesser mortals, could have gone terribly wrong. I imagine the stage directions to be quite prescriptive as they often are in such texts, but McKenzie’s assured direction and the cast’s ease with the stagecraft create a flow that builds terrific tension before releasing it in beautifully timed comic moments.
Galleon Theatre Group’s Dial M for Murder is great fun and suited to audiences from lively late teens to very sage adults.
Needless to say…Go. See it!
Reviewed by John Doherty 08/5/2026
Theatre Association of SA (TASA) Review
If Agatha Christie’s “The Mousetrap” is considered to be the definitive murder mystery, then Frederick Knott’s “Dial M For Murder” must surely be the definitive thriller suspense mystery. Although Knott wrote it as a stage play in 1952, it was Alfred Hitchcock’s 1954 film version starring the beautiful Grace Kelly (later to become Princess Grace of Monaco) that brought the story to a majority of people.
Knott was basically one of the forerunners of what has become known as ‘inverted murder’ and used to great effect in shows such as Columbo and Elsbeth. It is the device where the audience know from the beginning whodunnit and have to wonder how the culprit is going to get caught out. Ex-tennis player Tony Wendice discovers that his wife Margot has been having an affair with an American television writer, Max Halliday. Wendice concocts a plan involving his old school chum Captain Lesgate to end the affair by ending someone’s life. Three ordinary household objects become vitally important to the unravelling of the plot: one is used for an alibi; one is the murder weapon; and one is the vital instrument in capturing the killer.
At this point, i feel that it’s only fair to warn the reader that this is going to be a rave review!! The whole production is BRILLIANT!!! There is just no other word for it.
Director Warren McKenzie has given the audience the feeling that they are watching a film noir black and white classic. The Domain Theatre stage has gone and not being used for this show and there is none of the regular Galleon Theatre cabaret setting. The actors are on the flat floor and the audience sits in raked seating – just like being in a cinema watching a film unfold on the big screen. The entire production, set (designed by McKenzie and his daughter), costumes (designed by Helen Victoria), props (Elaine Latcham assisted by Mary Cummins) hair (Kathryn Stevens, Sabrina Cavioulo and Melissa Vritielka) and makeup (Cavioulo and Vritielka) are mixtures of black, white and grays. It is all just stunning to look at. They have even gone to the trouble of basing the actors’ facial makeup on the correct technique used in the old black and white films – pale faces (not white like French mimes) and dark purplish eye liner around the whole eye to make them pop (hardly noticeable but this film buff picked it up). It must be pointed out that there is one splash of colour at the beginning of the play – the leading lady is in a stunning red dress. Ardent film buffs may liken it to a scene in the black and white film “Schindler’s List” where a little girl’s dress is the only splash of colour. Those same ardent film buffs may also remember that Grace Kelly was stunning in red in the movie (the dress was designed by Hitchcock himself (this reviewer really needs to get a life lol)).
It’s obvious from this magnificent production that McKenzie has a real love and, even more importantly, a huge understanding of setting the correct feel and mood for suspense. Even to the point of using atmospheric snippets of music from the Hitchcock movie version.
The cast of five (Joshua Coldwell, Patrick Clements, Genevieve Hudson, Gary George and Simon Lancione) are as impeccable as their accents; Coldwell, Hudson and Lancione are all very upper class British with George being more middle class; and Clements delivering a very believable American accent.
Hudson could very easily be the reincarnation of Grace Kelly. Her inflections were spot on and she carried off the stiff upper lip hysteria of the day well. The fear was never overdone – a beautifully controlled performance. George is the epitome of the 1950s fictional police Inspector. The audience is with him all the way and although he doesn’t appear till Act Two, he makes his presence felt with a strong performance. Clements is that rare thing, a likable American. Although he is the instigator of the affair with Margot, Clements makes Max Halliday almost the comic relief without turning the play into a comedy. He has a nice light touch that makes his outburst in Act Two incredibly believable.
Lancione is perfect as ex-Army, old Public schoolboy. He enters full of confidence and swagger but as we learn more about him and what he is expected to do for Tony, Lancione slowly sheds his original persona and we see the shell of a fearful man. It is a beautiful piece of acting and his scene with Coldwell is riveting. It must be noted that Lancione does some great uncredited off stage voice overs as well. He’s not on stage as much as the others but certainly makes his presence felt when he is.
Coldwell as the protagonist/antagonist Wendice gives a sterling performance. This young man always gives one hundred percent in what ever role he performs and this is no exception. He oscillates between likability and maliciousness and even fear so smoothly. Out of a brilliant cast, Coldwell just positively shines. As I have mentioned above, his scene with Lancione is wonderful, but then again his interactions with all the cast are just spot on.
Reviewed by Brian Godfrey 08/5/2026
What's the Show Review
The telephone rings, trilling through the darkened living room three, four, five times. The bedroom light flicks on, illuminating the telephone and the desk it rests upon. A woman appears, yawning, in her dressing gown.
She answers the phone, but no one responds. “Hello?” she says again, looking at the handset in confusion. It’s in that moment she feels fabric tightening around her neck as she is shoved onto the desk, fighting for air …
“Dial M for Murder”, presented by Galleon Theatre Group, is not only a beautiful demonstration of inner turmoil, but simplicity on stage. Everything from the set design to the costumes is simple, elegant, and beautifully complementary. The set has been expertly crafted to enhance the impact the lighting has on key moments within the story. Key moments which have also been carefully paired with a spine-tingling score to set your nerves jangling.
Not only will your nerves be frayed, but you can expect to find yourself holding your breath in anticipation more than once, wondering “how on earth will they will get away with this?”
With a small cast of five you expect the chemistry to be high-quality, and the cast from Galleon Theatre do not let down their audience for a moment. With heartfelt confessions, scheming, dastardly deeds, and inquisitive inspectors, no interaction felt unhurried or unconsidered. Each moment was carefully plotted from the facial expressions to the smooth, natural use of the entire stage.
The stage, which has a distinct air of being its own character, is deceptively simple at first glance, but after some observation has clearly been well curated, not just for the performance but also for the actors. The set feels cohesive and lived in, just like the flat of a married couple should.
Be sure to keep your eye on this married couple, for their body language and voice control are expertly maintained … until they’re not. Dressed impeccably, and with barely a hair out place, Mr. and Mrs. Wendice navigate the new twist their marriage has undertaken, while a desperate Mr. Halliday and the calculating Inspector Hubbard do their utmost to make sense of how the slimy Captain Lesgate fits into the story. Be sure to watch the costumes carefully, each one perfectly suited for their character, and even being used as a plot point … The audience will find themselves on the edge of their seat to see if the good guys will prevail and the bad guys will get what’s coming to them, with laughs, gasps, and sinking feelings along the way.
Reviewed by Nicole Pomeroy 8/5/2026
