Curtain Up (82 page)

Stage, The
2, 119, 121, 191–2, 214–15, 216, 230, 231, 232, 238, 244, 285–6, 287, 329, 406, 420, 439–40, 457–8, 461, 477, 490–1, 492, 495, 498, 517, 519, 521, 526, 527, 532–3, 542, 551

Stanislavski, Constantin 382–3

Star, The
79, 477–8, 479

Stepham, Renee 420

Stewart, Ann 494

Stewart, Jan 144

Stickney, Dorothy 412

Stock, Nigel 474–5

Stokes, Sewell 97

Stoll Theatre, London 414, 415

Stoll Theatres 253

Storm, Lesley 215, 440, 456;
Black Chiffon
277, 457;
Roar Like a Dove
459

Strand
magazine 196, 502

Strand Theatre, London 459, 460, 512, 517, 550

Styles, Sunningdale, Berkshire 69, 83, 89

suffrage movement 15, 45–6

‘suffrage theatre' 15

Sullivan, Cassie (AC's godmother) 48

Sullivan, Francis L. 86, 90, 91, 93, 96, 108, 109, 110–11, 117, 123, 127, 149, 150, 151, 152, 154, 156, 195–7, 198, 199, 204, 205, 206, 210, 216, 217, 228, 230, 232, 234, 239, 240, 241, 260, 292, 298, 341, 377, 380, 381, 382, 383, 384, 385, 386, 389–90, 392, 403, 524

Sunday Chronicle
281–2

Sunday Despatch
152–3, 320

Sunday Express
366

Sunday societies 121, 265

Sunday Times
4, 77, 88, 305, 326, 436, 437, 479, 554

Swanson, Marcella 298

Sydney, Basil 119, 359, 361

Tappan Zee Playhouse, Nyack, New York 481, 482

Tate, Reginald 242, 245, 246, 276

Taylor, Gwen 113

Taylor, Lib 15, 454–5, 473, 487, 496

Tennent, Henry Moncrieff (Harry) 120, 166, 178, 254, 256

Tennent Plays Ltd 169, 170, 177, 218, 254
see also
H.M. Tennent Ltd
and
Tennent Productions Ltd

Tennent Productions Ltd 253–8, 271, 272, 278, 287, 290, 292, 313, 320, 397–8, 399– 400, 410, 440, 442–3, 459–60, 476, 554–5
see also
H.M. Tennent Ltd
and
Tennent Plays Ltd

Terry, Ellen 150

Théâtre de Grand Guignol, Paris 48

Théâtre Des Deux Masques, Paris 126

Theatre Royal and Opera House, Torquay 33

Theatre Royal, Bath 438–9, 443

Theatre Royal, Drury Lane, London 84, 108, 258, 460, 476, 491

Theatre Royal, Haymarket, London 41, 78, 112, 123, 166, 177, 258, 287, 368, 397, 398–9

Theatre Royal, Nottingham 457, 517

Theatre Royal, Stratford East 191, 372, 438, 455, 491

Theatre Royal, Windsor 54, 108, 288, 371, 437

Theatre Workshop 372, 438, 455

Theatres Act (1843) 23

Theatres Act (1968) 540

Theatrical Companies Bill (1954) 398–401, 443

Thomas, Robert 483

Thompson, Laura 15–16, 71, 134, 187, 247, 393, 436, 463

Thorndike, Russell 502

Thorndike, Sybil 49, 50, 177, 178, 215, 287, 397, 502, 503

Thorpe, George 282, 287, 289

Tichborne, Roger 58

Tilling, Humphrey 337–8, 350, 352

Tilling, Sue 337

Time
(magazine) 388

Times, The
9, 40, 49–50, 57, 58–9, 90, 91, 93, 94, 96, 100, 113, 122, 138, 153, 167, 175, 182, 197, 214, 230–1, 233, 243, 245, 257, 259, 272, 280, 320, 321, 378, 411, 420, 427, 444–5, 460–1, 475, 478, 492–3, 502, 518, 521–2, 525–6

Tinker, Jack 330

Todd, Ann 349

Tomlinson, George 327

Tony Awards 389–90, 392, 456

Town and County Playhouse, Rochester, New York 481

Toy, Barbara 161–4, 169, 170, 243–4;
Lifeline
162, 163, 164, 292;
Murder at the Vicarage
and 241–2, 552;
Random Harvest
and 162, 242

Travers, Linden 176

Trevor, Austin 105

Trewin, J.C. 13, 280, 458–9, 460, 461, 464, 553

Troubridge, Sir Thomas St Vincent 302–3

Tynan, Kenneth 411, 427, 441–2, 459, 461–2, 478, 491, 522, 523;
Oh! Calcutta!
540, 551

United Artists 392, 412

United Booking Office 292

Ur, Iraq 81, 87, 94

Urquhart, Robert 490

Ustinov, Peter 279, 320, 343

Victoria and Albert Museum (V&A) Theatre Archive 20, 309, 400

Variety
(magazine) 321–2

Vaudeville Theatre, London 93, 151, 152, 159–60, 169, 232, 290, 320, 498–9, 533, 555

Verner, Gerald 548;
Meet Mr Callaghan
320, 420;
Towards Zero
adaptation 209, 223, 225, 359, 417–20, 422–3, 424–5, 426, 427–8, 446, 473, 567

Verner, James 547, 550

Victoria Palace Theatre, London 232, 551

Volcano Productions 548

Vosper, Frank 153, 154;
Love from a Stranger
and 111, 112–26, 142, 271, 377;
Murder on the Second Floor
81, 113

Vosper, Margery 120, 121, 152, 153;
Tea for Three
152, 153, 168, 499, 566–7

Waldman, Honey 481

Waley-Cohen, Sir Stephen 25, 330

Wallace, Edgar 265, 411, 504;
On the Spot
81;
The Ringer
75–6, 283;
The Terror
75

Walpole, Hugh 76

Washington Post
394

Washington Times Herald
394

Watling, Jack 346, 348–9

Watts (née Miller), Margaret (AC's sister Madge) 33, 53, 73, 79, 146–7, 490;
The Claimant
53–4, 57–9, 83, 89, 94, 146; death 291;
Oranges and Lemons
59–61, 146, 542

Watts, James 53, 89, 490

Webster, Margaret 178

Weigall, Arthur:
The Life and Times of Akhnaton, Pharoah of Egypt
138–9

Weight, Michael 338, 363, 407, 424, 441, 467, 475, 492, 494

West End: AC as Queen of 26, 192, 195, 249, 414, 456; AC challenges male hegemony in 14, 15, 553; AC's work debuts in 92, 93–4, 107; birth of ‘theatreland' 23; dimming of lights at theatres on AC's death 552; exploitation of success on in other markets 23–4; finale for AC in 526; ‘the Group' and 120, 178, 213, 253, 254, 268, 272, 278, 290, 319, 330, 364, 410, 423, 459; H.M. Tennent production empire (‘the Firm') dominance of
see
Beaumont, Hugh ‘Binkie'; H.M. Tennent Ltd; Tennent, Henry Moncrieff ‘Harry'; Tennent Plays Ltd
and
Tennent Productions Ltd; representation of women playwrights in 14, 15, 153–4, 456, 553
see also under individual play or playwright name
; Second World War and 177–80, 215, 218

Western Daily Press
476

Westminster Theatre, London 214, 217, 277, 316, 320, 376, 457, 491

Whalen, Michael 189

Whatmore, A.R. 87, 92, 96, 100, 151, 204–5, 206

White, Pearl 62

Whitehall Theatre, London 242, 406–7, 533, 551

Wigmore Hall, London 172

Wilde, Oscar 8

Willes, Peter 125

Williams, Emlyn 117, 153, 287, 532;
Accolade
440;
A Murder Has Been Arranged
81;
Night Must Fall
118–19, 120–1, 122–3, 124, 230

Wilson, Harold 6

Wilson, J.P. 223

Wimbledon Theatre, London 94, 169–70, 177, 213, 216, 277, 563

Windsor, Duke and Duchess of 371

Winner, Septimus 157, 186

Winter Garden Theatre, London 232, 319, 364–5, 366, 367, 372, 377, 382, 406, 457, 477

Witness for the Prosecution
(film) 390

Wolfenden Report 507–8

Wolfit, Donald 86, 91, 96, 232, 279, 343

Woman's Own
304

Women's Illustrated
502

Women's Social and Political Union 46

Wontner, Arthur 195

Woolley, Katherine 81

Woolley, Leonard 81

Workers' Theatre Movement 26, 92

Worth, Irene 368

Wotherspoon, Ralph 438

Wyatt, Woodrow 397–8, 399–400, 401, 443

Wyldeck, Martin 280, 281

Wyndham's Theatre, London 76, 121, 279, 317, 551

Yokel, Alex 122

Young, Brigham 37

Yvonne Arnaud Theatre, Guilford 549

The pagination of this electronic edition does not match the edition from which it was created. To locate a specific entry, please use your e-book reader's search tools.

AC indicates Agatha Christie.

Entries in
bold
indicate Agatha Christie plays.

ABC Murders, The
154

Absent in the Spring
(Westmacott) 194

‘Accident' 152–3

Akhnaton
134–45, 152, 199, 285, 448, 450, 454, 455, 551, 557, 563

Alibi
(aka
The Fatal Alibi
) (adapted by Michael Morton from
The Murder of Roger Ackroyd
) 73–80, 82, 83, 90–1, 94, 99, 105–7, 109, 117, 122, 158, 160, 185, 230, 243, 244, 260, 377, 386, 419, 566

And Then There Were None
see Ten Little Niggers/Ten Little Indians

And Then There Were None
(Kevin Elyot adaptation) 555–6

Antoinette's Mistake
35, 39

Appointment with Death
(novel) 194, 197, 564

Appointment with Death
194, 206–8, 209–16, 217, 218, 219, 240, 244, 564, 247, 248, 260, 484, 557; AC on 210, 211; cast 210, 212–13, 419, 456; censor and 208, 470; closes 215–16, 217, 218; director 217, 420; novel and 194, 197, 564; opening of, Glasgow 209–10, 211; plot and themes 7, 201, 206–8; pre-West End tour 211–12, 213; production process 206, 210–11, 242; reviews 211–12, 213–15; rights/licences 208, 209, 216; scripts 6, 19, 206–7; sets/design/location 6, 207, 214, 237, 247; West End opening 212–13

An Autobiography
(AC) 1–2, 9, 16–17, 33, 41, 48, 61, 63, 64, 68, 70, 76–7, 82–3, 86, 90, 112, 133, 136–7, 144, 158, 165, 167–8, 248, 259–60, 262, 265, 266, 283, 303–4, 311, 315, 326, 373–5, 407, 428, 466, 468, 469, 471, 536–7

Black Coffee
82–94, 101, 102, 107, 146, 167, 196, 205, 224, 267, 405, 562; AC on 87, 88,
89; cast 89, 90, 91, 93, 167, 216; directors 82, 86, 92–3, 197, 205, 382, 383, 414; Embassy Theatre and 85–7, 89, 550; film rights 99, 105; lack of success 94, 557; Little Theatre transfer 94, 99, 502–3; novelisation of 483; opening night, Embassy Theatre 89, 550; origins of (
After Dinner
)
74, 82–3, 87; plot and themes 89–92, 224; Poirot and 8, 82, 83, 89, 90–1, 92, 93, 94, 127, 196; reviews 91, 93, 175; rights/licences 87, 94, 127, 268; Saunders and 267–8; scripts 19, 82–3, 87, 91, 92, 93, 94, 175, 185; title 74, 87; touring productions 267–8, 270, 547; West End run, St Martin's Theatre 92–4, 95, 99, 109, 151, 216; Wimbledon transfer 94

Body
in the Library, The
194

Burden, The
(Westmacott) 437

Butter In a Lordly Dish
(radio script) 112, 338

Cards on the Table
(Leslie Darbon adaptation) 555

Chimneys
80, 82, 83, 94–104, 404, 557, 562; AC updates 302–3; AC attempts to catch premiere of 94–5, 97, 98, 99, 509; AC on 97, 98, 99, 105; cast 96–7, 98; dialogue 103; disappearance of 94–101, 105; origins/novel and 63, 70, 80, 82, 83, 102, 103, 126; plot, characters and themes 101–5, 127, 302, 404, 490; rights 95–6; scheduling 96–100; script 20, 80, 82, 94, 95, 96, 102–5, 126; stage premiere, Calgary, 2006 104

Clutching Hand, The
61–4, 82, 308, 562

Command Performance
(AC play idea) 240

Conqueror, The
39, 561

Daughter's a Daughter, A
(novel) (Westmacott) 435, 565

Daughter's a Daughter, A
(Westmacott) 145–8, 155, 158, 240, 247, 285, 292, 428–42, 443, 451, 557, 558, 565; casting 147–8, 434–5, 439–40; delay in staging of 148, 240, 247, 285, 442, 451; director 437–8; Hughes Massie approach Basil Dean over 145–7; investors/finances 438; Mary Westmacott pen name and 148, 435–7, 445, 463; plot and themes 145, 429–37, 450, 478, 507, 547; premiere, Theatre Royal, Bath 145, 438–41, 445–6, 509; reviews 439–40, 441; Saunders and 428, 429, 434, 437, 438, 439, 440, 442; Second World War interrupts process of staging 148, 240, 247, 285, 442; script 145, 146, 147–8, 285, 429–37; title 145

Death Comes as the End
43, 136, 194

Death on the Nile
154, 194, 195, 197, 228

‘Dead Harlequin, The' 59, 126–7

Eugenia and Eugenics
43–8, 53, 56, 116, 324, 449, 561

Evil Under the Sun
194, 196

Fiddlers Five
(aka
Fiddler's Three
, previously
This Mortal Coil
) 537; cast 542, 545, 547, 550; Cork and 541, 544, 545,
547, 548; James Grant Anderson and 541, 542, 544, 550; licences/rights 541, 547; marketing 542; origins of 539–40; plot, themes and characters 538–9, 540, 542–50; repertory productions 551; reviews 542; reworking of as
Fiddlers Three
548–9; Rosalind Hicks reaction to 544–8; Saunders and 541; scripts 538–9, 540–1, 548–50; Theatres Act (1968) and 540; title 540, 541; touring premiere of, King's Theatre Southsea, AC attends 541–2; touring productions 550; West End run, failure to secure a 548, 550

Five Little Pigs
194, 484–5, 496

Giant's Bread
147

Go Back for Murder
483–97, 498, 509, 557, 565; AC on 486, 490, 496–7; cast 490, 494–5, 496–7, 514; design 494; director 495–7; finances 493–5; lack of success 493–7, 557; based on AC's novel
Five Little Pigs
484–5; plot and themes 8, 129, 203, 484–9, 490, 496–7; pre-West End tour 483, 490–1, 493; reviews 25, 490–7; Saunders and 483, 484, 490, 491, 493, 494; scripts 6, 19, 484–9, 490; West End opening 491–4

‘Green Gate, The' 50

Hickory Dickory Dock
533

Hidden Horizon
(aka
Murder on the Nile
, previously
Moon on the Nile
)
195–206, 227–39, 484, 563; AC on 203–4; Broadway 201, 218–19, 227, 229, 233–7, 247, 292, 298, 301, 329, 377, 395; cast 204–5, 206, 230, 231, 232, 236, 243;
Death on the Nile
and 194, 195–8; directors 204–5, 230; Dundee Repertory Theatre ‘try-out' production 199, 203–5, 216, 217, 230; endings, alternate 199–203, 204, 206, 237, 247, 486; finances/backers 203–4; lack of success 217–18, 247, 377, 395, 484;
Murder on the Nile
touring 232, 237–8; origins of (
Moon on the Nile
) 197–8, 199, 200–1; plot, characters and themes 199–202, 207; pre-West End tour of 216–17; renamed
Murder on the Nile
229–30; reviews 205–6, 216–17, 230–2, 235, 236–7, 395; rights/licences 198–9, 216, 218, 227–30, 233–5, 238; script 199–203, 206, 227; title 197–8, 199, 229–30; tours of 210; West End run as
Murder on the Nile
201, 229–32, 233, 343, 346, 457

Hollow, The
(novel) 199, 259, 260, 564

Hollow, The
(aka
The Suspects
)
248, 259–301, 303, 383, 386, 417, 447, 564; AC on 259–60, 273, 274–5; Ambassadors Theatre, transfer to 287–8, 289, 294, 311, 325, 419; cast 264, 268, 272–3, 274, 275, 278, 280, 281, 282, 285–6, 287, 289, 294, 317, 380, 528; director 17, 265–8, 274, 275, 278, 282–5, 298, 383, 474, 496; finances 268–72, 288, 289–90, 319; Fortune Theatre, West End run 276–87, 302, 311, 418; rights/licences 264,
290, 292, 298–301; Mallowan on 260–1; plot and themes 7, 261–4, 319, 383, 426, 447, 454, 469–70, 471, 475, 476, 484; Poirot and 260, 267–8, 276, 279–80, 281; pre-West End tour 273–6, 278, 289, 365; publicity 273, 282; reviews 280–2, 286–7; Rosalind Hicks response to 274–6; royal family and 287; Saunders and 264–5, 266, 267, 268, 269, 270–1, 272, 273–6, 277, 278, 282, 286–7, 288–91, 292, 293, 294, 299, 300, 301, 310–11, 428; script 19, 248, 259–64, 282–5, 319, 449; success of 285–6, 290, 319, 321, 325, 364, 484, 494, 553, 557;
The Suspects
(US version) 293–301, 321, 377, 379, 388, 452, 480

Hound of Death, The
(short story collection) 334

Last S
é
ance, The
48, 50, 502, 558, 561

Lie, The
61, 64–9, 71, 72, 82, 112, 136, 145, 203, 221, 292, 430, 448, 449, 463, 558, 562

Listerdale Mystery, The
(collection of short stories) 111, 112, 152, 563, 566

Lord Edgware Dies
154

Love From a Stranger
(adapted by Frank Vosper from
The Stranger
)
111–26, 149, 150, 152, 154, 158, 185, 191, 198–9, 238, 244, 270, 271, 377, 547, 556, 566

Man in the Blue Suit, The
48, 64

Marmalade Moon
52–3, 561

Masque from Italy, A
37–9, 126, 560–1

Miss Perry
529–33, 537, 539, 551, 566

Mousetrap, The
(formerly,
Three Blind Mice
)
302–33, 402, 421, 422, 425, 432, 557, 564; AC attends milestone events 323–4; AC on 303–4, 305, 311, 312, 315, 323–4, 326, 333, 347, 539, 540, 546, 547; AC attendance of performances 312, 323–4; Beaumont and 271; cast 311–12, 314–15, 316, 317, 319, 320–1, 322–3, 324–5, 329–30, 346, 365, 383–4, 393, 400, 403, 406, 424, 533; design 305, 495; directors 16, 17, 26, 265, 312–19, 322–3, 327, 330–3, 335, 383, 420, 474; film rights 328–9; financing 319–20, 385; income from 311, 323, 356, 372, 373, 524, 554; longevity 24, 311, 323–9, 345, 349, 356, 376, 388, 393, 413, 422, 442, 460, 466, 551; Mallowan on 326, 327; National Theatre ‘100 Plays of the Century' and 328; New York opening 395–6; origins of (
Three Blind Mice
)
18, 265, 302–15, 452; plot, themes and characters 7–8, 12, 91, 304–10, 319, 320–1, 327, 336, 338, 347, 348, 404, 432, 472, 478, 507, 509, 528, 558; pre-London tour 319, 365, 528; records set 325, 376, 466; relocation from Ambassadors to St Martin's 552; reviews/critics and 24, 305, 320–2, 325, 395–6; rights/licences 25, 310–11, 315–16 328–30, 372, 373, 377, 393–4, 423, 554; Saunders
and 25, 26, 310–11,
312, 313, 314–20, 322, 323, 324, 325, 327, 328, 329–31, 332–3, 345, 346, 347, 348, 349; scripts 18, 20, 302–10, 311, 314, 315, 317, 318–19, 469; success of 324–7, 364; title 265, 309, 315–16, 328, 341, 452; US, decision to withhold from 329, 377, 393–5, 412, 480; Washington DC production 393–5; West End opening 320, 322; writing of 303–5, 334

Moving Finger, The
405

Murder in the Mews
(collection) 196

Murder at the Vicarage, The
(novel) 77, 154, 239, 567

Murder at the Vicarage,
(adapted by Moie Charles and Barbara Toy from
The Murder at the Vicarage
) 239–46, 248, 258–9, 260, 267, 269, 270, 313, 417, 419, 546, 547, 552, 567

Murder is Announced, A
(Leslie Darbon adaptation) 555

Murder is Easy
(Clive Exton adaptation) 555

Murder of Roger Ackroyd, The
70, 73–6, 159

Murder on the Orient Express
154

Mysterious Affair at Styles, The
47, 62, 89

Mysterious Mr Quin, The
(collection of short stories) 126, 563

‘Mystery of the Baghdad Chest, The' 501–2, 503

‘Mystery of the Spanish Chest, The' 502

Partners in Crime
(radio adaptation) 312

Peril at End House
(novel) 41, 149, 154, 158, 567

Peril at End House
(adapted by Arnold Ridley from
Peril at End House
)
149–52, 155, 159–60, 184, 195, 198, 205, 216, 238, 243, 556–7, 567

Personal Call
(radio script) 112

‘Philomel Cottage' 111–12, 114

‘Rajah's Emerald, The' 503

Rose and the Yew Tree, The
(Westmacott) 435

Rule of Three
557, 566; AC on 546; amateur and repertory productions 525–6; cast 507, 514, 516; censor and 507–9; director 506, 507, 512, 514–17, 518, 520, 521, 522, 523, 526; origins 499–500; plot, themes and characters 500–8, 510–13, 514–16, 522–3, 526; pre-West end tour 509–10, 517, 519; reviews 502, 509, 519–23, 524–5; rights 525–6; Saunders and 499, 500, 507, 508, 509, 510–11, 512, 513, 514–18, 519, 520, 521, 524, 525, 526–7, 528; scheduling of original production 507; script 499–513, 514–16; TV broadcast 525; West End run 511, 513–25, 526, 533; writing of 499–500

Secret Adversary, The
63

Secret of Chimneys, The
63, 70, 80, 82, 83, 102, 103, 126

Seven Dials Mystery, The
83

Someone at the Window
59, 126–33, 203, 233, 262, 486, 563

Stranger, The
112–17, 125–6, 145, 159, 221, 292, 424, 430, 563

Spider's Web
16, 258, 388, 401–14, 425, 427, 445, 510, 519, 528, 553, 557, 565; AC on 403, 412, 537, 540, 541, 546; cast 401–6, 412–13, 470, 483, 528; design 407, 441; director 16, 406–7; film and 22, 412, 437; finances 388, 413–14, 428, 464, 546; New York premiere 412; novelisation of 483; plot, themes and characters 402–10, 424, 454; pre-London tour 388–9, 406; publicity 406; reviews 411, 413; rights/licences 412; royal family and 411–12; Saunders and 401, 402, 406, 407, 410, 412, 413; stage tour of 412, 483; success of 413–14; title 405; West End opening and run 410–11, 413; withheld from New York 412, 480; writing of/script 403–4, 405, 407–10

Snow Upon the Desert
39

Sparkling Cyanide
193

‘Stronger Than Death' 50

Tea for Three
(adapted by Margery Vosper from ‘Accident') 152–3, 168, 499, 566–7

Teddy Bear
41–3, 53, 324, 561

Ten Little Indians
(Broadway production of
Ten Little Niggers
) 181–91, 233, 236, 237, 297, 395, 452, 528, 563
;
cast 189–90, 236;
direction 189–90; finances 187;
licences/rights 181–8, 293;
opens, Broadhurst Theatre 187;
Plymouth Theatre run 187, 208;
production values 187–8; reviews 187–8;
script changes 188–9;
Second World War and 189;
Shuberts and 27, 181, 182–5, 186–8, 189, 190, 246, 292, 452;
success of 188–9, 208, 209, 219, 220, 235, 292, 296, 301, 321, 329, 377, 480;
title 185–7