The Late Edwina Black

‘The Late Edwina Black’ is a brilliant suspense play crafted by playwrights William Dinner and William Morum. The authors have collaborated in writing more than a dozen well-respected plays together.

This production was showing at the Limelight Theatre on Civic Drive, Wanneroo until 23^rd February.

         It is a winter evening in 1895, and the setting is a substantial house, Amberwood, in the South of England countryside. The stern housemaid, Ellen (Sue Mainwaring), is tiding up the comfortable sitting room before draping all the ornaments and mirrors with black crepe, this is because the lady of the house, Edwina Black, has just died after a lengthy illness. 

        Elizabeth (Susannah Devenish), Edwina’s young, personal maid and carer is seated on the sofa looking most distressed. Annoyed with Ellen’s attitude, she decides to go upstairs to her room for a lie-down.

       The doorbell rings and a tall, smartly dressed man is shown into the lounge by Ellen. He asks to see the master of the house, but is told to call another day. The man explains that his business is urgent and that he must see Mr Black today – before the funeral. The housekeeper assumes that he is an undertaker, so explains that Mr Black is out for a walk but will return any minute. 

       When the middle-aged schoolmaster, Mr Black (Andrew Govey), returns he discovers that the stranger is in fact a detective, Henry Martin (David Nelson). It seems that the doctor who had signed the wife’s Death Certificate was a little concerned about the wealthy heiress, Mrs Black’s death, and so had withdrawn the certificate and called Scotland Yard.

       Detective Martin starts digging into the household matters in his search to find the truth behind late Mrs Black’s premature demise.

One can very soon see why this play, written at the end of the Second World War, was bestowed with the title of ‘Play of the Year’ in London. The script is tight, the characters beautifully created and the construction of the plot so clever that it has everyone changing their minds about the killer, right up to the last few paragraphs.

One can very soon see why this play, written at the end of the Second World War, was bestowed with the title of ‘Play of the Year’ in London. The script is tight, the characters beautifully created and the construction of the plot so clever that it has everyone changing their minds about the killer, right up to the last few paragraphs.

All of the actors had to spend almost the whole two hours on the stage. The script pace was fast and the dialogue intricate, but the actors did not falter once. The rapport was excellent as the emotions swung back and forwards. The straight authoritative figure of the detective worked beautifully in contrast to the confused panic of the suspects. Powerful acting by the whole cast under the strong direction of James Hough Neilson. Superb.

The last few plays I have seen have had exceptional sets. The days when a picture strung up in front of a black drape have gone. The set designer (Bob Mainwaring) has planned a functional ‘lived-in’ room, complete with French windows and staircase. The Victorian wallpaper and paint colours (Carryn McLean, John Henry) gave authenticity, the floor was appropriately rugged and the walls covered with antique pictures and ornaments. The obligatory aspidistra was in the corner and the numerous furnishings, all genuine antiques (décor Sue Mainwaring, Polly Waugh) gave the room the wow factor.

The lighting effects and design were good and the teching smoothly operated (Wally Fry, Robert Benson-Parry).

Alan MacPherson has chosen some superb mood music, Pachelbel’s ‘Canon in D’ was recognisable but the other music was fresh and original. The sound effects (Peter Sorenson) were clearly recorded and just the right level to make the audience jump in their seats when required.

In the wrong hands, this play could easily have become tedious; however, the teamwork here was brilliant, the result exciting and it gave everyone a great night at the theatre.