Review: THE MURDER OF ROGER ACKROYD at Ottawa Little Theatre

For its 2026 season opener, Ottawa Little Theatre tackles The Murder of Roger Ackroyd, one of Dame Agatha Christie's most famous whodunits.

The story's setting is King’s Abbot, a sleepy English village. Hercule Poirot (Felipe Moura) has recently retired here based on his friend, Roger Ackroyd's (Udit Sapre) suggestion, only to find himself drawn back into the world of investigation after the latter is found dead under mysterious circumstances. As the chief suspect disappears and suspicions grow, Poirot works to uncover the motives among King’s Abbot’s residents, who all appear to have something to hide.

The set and costume design (David Magladry, Dawn Fanjoy) is as meticulous as that I’ve come to expect from OLT productions. The drawing room of Ackroyd’s estate contains many small details and includes period‑appropriate furnishings, draperies, and costumes that match the setting of an upper-class household in 1920s England, firmly cementing the audience into the proper time and space.

Lighting (David Magladry) is used effectively to highlight the areas of the stage where the action is. Ackroyd’s home occupies the largest space on stage, but when we are focused elsewhere, like in the kitchen of James Sheppard (Ian Gillies) and his sister, Caroline’s (Teal Cochrane), cozy home or in Poirot’s garden, the estate fades into darkness and the target areas are spotlit to keep the audience’s attention directed. The use of an upper level area, illuminated during phone calls between characters, is a clever use of space, avoids confusion, and keeps scenes visually dynamic.

The show’s weak spot is its pacing. The first act establishes the setting and each of the characters with care, but the production struggles to maintain momentum as it progresses. Mark Shanahan’s script seems to go in circles, unnecessarily dragging out the first act and losing the sense of urgency that serves as the basis for the "thrill" of any murder mystery.

The acting quality varies across the cast, with some leaning a little too far into farcical overacting, undercutting the play’s tension and distracting from other, more grounded, cast performances. That being said, performances for key characters, particularly the narrator, Dr. Sheppard, and Detective Poirot are strong, with the latter’s intellect and understated humor portrayed convincingly without veering into caricature, and the former providing a steady presence in scenes that may have otherwise gone off course.

Sarah Parsons delivers a standout performance as Flora; radiating a quiet, stoic resignation that adds depth to each scene she is in.  Also excellent is Garret Lee as Inspector Raglan; he portrays the stereotypical clueless, bumbling police inspector to perfection. Other noteworthy performances come from Sydney Williams and Yazen Jaouni in the understated but critical roles of Ursula Bourne and Ralph Paton.

The Murder of Roger Ackroyd is a respectable production that checks several boxes, such as its brilliant set design, thoughtful lighting, and some strong performances. But the show never quite reaches the level of captivation that Ottawa Little Theatre has achieved with other Christie adaptations, like last season’s And Then There Were None. Although the slow pacing and uneven acting keeps the mystery from reaching its full potential, fans of Agatha Christie and classic whodunits will still enjoy the show.