Review: THE MURDER OF ROGER ACKROYD at Different Stages

From November 14 - December 6, Different Stages offers an evening of classic mystery and refined theatrical craft in presenting Mark Shanahan’s adaption of Agatha Christie’s THE MURDER OF ROGER ACKROYD at The VORTEX Theatre in Austin. Based on Agatha Christie’s famous 1926 novel, the play follows Dr. James Sheppard, who recounts the events surrounding the shocking murder of the wealthy Roger Ackroyd in the small English village of King’s Abbot. With Hercule Poirot retired to this very countryside, the famous detective finds himself drawn into a clever mystery, full of secrets, deception, and murky motives hidden beneath genteel manners. 

Rick Felkins as Dr. James Sheppard carries the show as its narrator with outstanding skill. His performance anchors the story, balancing dry humor, curiosity, and restraint in a way that builds both credibility and suspense. In addition, Felkins captures the nuances of Christie’s structure, where much depends on what is said and what is not, with ease. His pacing and precision guide the audience smoothly and deceptively through the complex plot, with his understated performance making the revelations all the more powerful.

Bernadette Nason is delightful as Caroline Sheppard, the doctor’s inquisitive sister. She plays the concerned sibling and community busybody with warmth and humor, creating a character who feels both familiar and endearing. Nason’s timing brings charm and her portrayal of an elderly woman constantly meddling (with the best of intentions) adds a touch of levity to the story.

Gabriel Maldonado shines as Hercule Poirot, embodying well the self-assured presence befitting one of literature’s most famous detectives. His delivery of Poirot’s sardonic wit and mildly condescending lines feels effortless, and his transitions from arrogance to genuine insight are well-calibrated. Maldonado captures the blend of intellect, eccentricity, and precision that define Poirot, embodying the larger-than-life persona while keeping it grounded in human warmth.

Alexandra Russo brings restrained strength and rigid poise to Helen Russell, a commanding and prim presence whose lines land with clarity, conviction, and no forbearance for any nonsense. Her posture and tone lend authenticity to her character’s propriety and underlying tension, and her delivery stands out as particularly crisp and articulate. 

Stephen Fay as Parker, the butler, is wonderfully proper and meticulous, exactly as one might hope for in a Christie mystery. His controlled movements and measured speech create the perfect portrait of a man who prides himself on accuracy and formality. Fay’s attention to detail enhances the ensemble, and his presence adds to the play’s atmosphere of old-world decorum tinged with suspicion.

Katherine Schroeder gives an excellent turn as Gertrude Ackroyd, filling the stage with colorful exasperation. Her frustration with nearly everything around her is both amusing and relatable, and she handles her moments of tipsiness with believable humor and control. 

Adam Martinez makes an excellent Inspector Raglan, striking just the right tone between authority and comic obliviousness. His portrayal of a slightly daft yet well-meaning investigator is confident and funny without tipping much into caricature. Martinez’s energy and presence make him a joy to watch, particularly in his interplay with Poirot and Dr. Sheppard.

In the supporting cast, Reed Syzdek offers a sweet and youthful Ralph Paton, playing off Haylee Myers’s Ursula Bourne with tenderness and charm. Frank Rivira as Roger Ackroyd, makes a brief, but strong impression as the dignified but doomed victim. Shanaya Dixon’s Flora Ackroyd is elegant and sympathetic, balancing care for her mother with an independent spirit. Zachary Gamble as Major Hector Blunt brings a commanding voice and proper military bearing, rounding out the ensemble with confident precision.

Norman Blumensaadt’s direction is, as always, expert and precise. He maintains a careful balance between the dialogue-heavy nature of Christie’s script and the need for visual energy on a small stage. The pacing is crisp, and the movement keeps the story dynamic without losing clarity.

Charlie Boas’s set design is well thought out, with the rear-room setup of Roger’s study providing a clever focal point for key scenes. The subtle shifts of furniture, enhanced by Amy Lewis’s expert lighting, delineate each location (Fernly Hall, the doctor’s surgery, and outdoor scenes) with clarity and polish. Ann Shelley Ford’s costumes fit the era beautifully, with tailored suits and period dresses that enhance the show’s 1920s aesthetic. Jeff Miller’s sound design, featuring the period music of Harry Bidgood & His Broadcasters, subtly supports the mood, while the iconic thunderstorm during the discovery scene is timed to perfection. Mike Ooi’s moment of fight choreography reads smoothly and adds just the right jolt of energy at a crucial moment. And special recognition goes to Stage Manager Tamara Farley and the crew for their seamless transitions and coordination of props and set pieces throughout.

Different Stages’ THE MURDER OF ROGER ACKROYD is a polished and intelligent production that captures all the wit, intrigue, and layered suspense that make Christie’s story a classic. Fans of mystery, period drama, and skillful ensemble acting will find much to love here. I highly recommend this production for anyone who appreciates a good puzzle and great theater done exceptionally well.

THE MURDER OF ROGER ACKROYD

Book by Agatha Christie; Script Adaptation by Mark Shanahan

Theater Company: Different Stages

Venue: The VORTEX Theatre, 2307 Manor Rd #2135, Austin, TX 78722

Thursdays - Saturdays at 8:00 p.m.; Sundays at 6:00 p.m.

Running Time: 2-1/2 hours, one 15-minute intermission intermission

Tickets: $15-$39

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