Frederick Knott. Galleon Theatre Group. Domain Theatre. 8 May 2026
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!
John Doherty
When: 8 to 16 May
Where: Domain Theatre
Bookings: galleon.org.au
