There’s nothing so consistent in pop culture than our ongoing obsession with the perfect murder. From Sherlock Holmes to Agatha Christie to radio thrillers to “Columbo” to “Law & Order” to “Monk,” we just love to be reminded that there is, of course, no such thing as the perfect murder. Outside of, say, “Body Heat.”
Vintage Theatre is now dusting off “Dial M for Murder,” Frederick Knott’s genteel 1952 British throwback to a time when a guy might blackmail an old college chum into killing his lovely but philandering wife — and everyone involved will remain perfectly civil throughout.
Not to say that “Dial M” is dated, but when’s the last time you dialed anything? It’s a bit confusing to those of us who grew up pressing. Seriously, if you dialed “M” in 1952 — would you really get Murder on the line? Another mystery for another time.
Knott is better-known for the better chiller “Wait Until Dark.” “Dial M” is better onstage than it was on film because it’s just so darned talky. As was the case in Anthony Shaffer’s “Sleuth,” the stage is the more natural place for nefarious types to execute their sinister plots — and then talk endlessly about them.
Vintage Theatre’s period production does a nice job making you actually care about characters who might be easy to hate. At the fore is Robert Kramer as evil mastermind Tony Wendice, a former pro tennis player who married for money and now plans to murder his oblivious wife, Margot (a very promising Stacy Riley), before she leaves him for an American TV mystery writer Max (Andy Lacerte).
It’s dry and humorless — just like the Brits like them. Yet it’s a pleasure watching the full extent of Tony’s machinations play out — how he lures some dupe to his home and threatens to ruin him if he doesn’t take stockings to his wife’s neck. Tony’s intricate plan is seemingly foolproof, in a pre-“CSI” kind of world.
Kramer clearly relishes the role, while managing to adroitly restrain himself from the kind of villainous overplay that could so easily turn this whole affair into pure cheesy melodrama.
There’s some oversight in director Bernie Cardell’s staging, but the confrontation between Margot and her would-be killer (Scott Glennon) makes for a truly visceral stage moment, one well-complemented by light and sound (but where’s the blood?). Not quite a blind Audrey Hepburn hiding behind the fridge door, but still, pretty sweet.
We’re warned by the crime writer Max the reason there’s no such thing as the perfect murder is because in real life, some people don’t always act in the way other people expect them to. What makes “Dial M” such popcorn fun is seeing Tony’s plan unravel, and yet how diabolically quick he is at adjusting on the fly.
The third act becomes a cat-and-mouse dance with an inspector (feminized here by a nicely restrained Rita Broderick) nipping at Tony’s heels.
The resolution drags into minutiae, and in the end, Tony’s fatal mistake turns out to be not all that interesting. But Cardell has taken us for a fun-enough ride that keeps you guessing throughout.
It’s clear this young company is on the rise — as evidenced by recent full houses.
John Moore: 303-954-1056 or jmoore@denverpost.com
“Dial M for Murder” *** (out of four stars)
Murder mystery. Vintage Theatre, 2119 E. 17th Ave. Written by Frederick Knott. Directed by Bernie Cardell. 2 hours, 25 minutes. Through Sept. 20. 7:30 p.m. Fridays-Saturdays, 2:30 p.m. Sundays. $17-$22. 303-839-1361 or
