Murder: By Invitation Only. And Then There Were None thrills at Players Club of Swarthmore

by Angela Robb

There’s something about a good mystery that never seems to go out of style. Clue has proven just how flexible and beloved a good mystery can be, enduring as a game night staple, a cult-classic film, and a theatrical crowd-pleaser. Over the last couple of years the genre has been reinvented through the Knives Out films, the popularity of which proves that we keep coming back to stories that invite us to lean forward, connect the dots, and suspect everyone. Agatha Christie’s And Then There Were None sits comfortably among these touchstones, reminding us why the slow burn of unanswered questions and mounting dread remains so irresistible. With this latest production at Players Club of Swarthmore, that timeless appeal is brought to life with an emphasis on tension, atmosphere, and the collective thrill of the unknown.

And Then There Were None is a classic mystery novel written by the one and only Agatha Christie. It was originally published under another title in 1939 but took the title we know it by today when it was published in the United States in 1940. The story follows ten individuals who have been invited unexpectedly to the island home of Mr. and Mrs. Owen, a couple none of them have met, and discover that, one by one, they are being killed off in the same pattern as the Ten Little Soldiers nursery rhyme on the wall. The ones who remain have to find out who among them is doing the killing and why. This Christie classic inspired adaptions in film, radio, television, and stage under multiple titles and inspiring various endings from grim and nihilistic to happily bittersweet. Even when I saw this performance I wasn’t sure which ending I would end up seeing until the show ended. 

Upon entering the space the audience is introduced to the set, designed and built by Ed Robins who serves as the Set Designer and Master Carpenter. The setting is an island home where the entirety of the action takes place and serves as a character in and of itself. The wooden walls adorned with lamps and artwork, including the “Ten Little Soldiers” rhyme and corresponding figurines on the mantle, were made from large flats. These flats went to the top of the stage, leaving no bare openings on top to remind the audience this is the set of a play. One of my set design pet peeves are doors and windows that lead to backstage rather than to another room or the backyard. This set featured a large “glass” window and door leading to the balcony that overlooked the ocean and sky and an entrance to the hallway, painted a faded blue. Many kudos to the Scenic Artists and Construction Team who helped Robins bring this set to life: Sue Abla, Jeannie Aleva, Kevin McPeak, Phoebe Myers, Eric Crist, Dena Daniel, Steffi Eger, Vince Fox, Karen Johnson, Samantha Locklear, Allison Miller, Mike Sokolowski, Chas Thomas, Amanda Pasquini, Jimmy Psitos, Teddie Psitos, Alec Robin, Carol Schaumerman, Dave Zaffarano, and Julie Zaffarano. 

Enhancing the set are the props, designed by Mary Kate Langan and Denise Kolodziej. Old couches and chairs add to the personality of the home and a period appropriate cocktail set is housed on the bar and used periodically by the characters. Other props come in and out of use such as cookie tins and even a gun. I thought each prop fit into the world of the play naturally and nothing stood out as out of place or unnecessary. Another thing I thought really enhanced the set was Danielle Lachall’s lighting design. As I mentioned above, the back of the set was a large window overlooking the sea. This area was backlit to indicate what time of day the scene was taking place in, shining warm orange in the evening for sunset, a light cool blue for morning, and a dark cold blue for nighttime. Scene changes didn’t go to a full blackout but instead dimmed so the only lights were from the lamps. This was efficient for scene changes to be done not in complete darkness and the stage hands to see what they are doing but also add to the ominousness of the show. 

In addition to lighting, Lachall also served as Sound Designer with assistance from Lee Longenberger. Microphones were effective, and the sound quality was rich and every word could be heard. My only critique with the sound was the record player, which had a little too much static in it, as if the actor recording the lines was speaking too close to the microphone. Other than that, all of the sound effects were recorded with quality and executed at just the right moment, including gunshots, thunder, and rain. The storm I thought was executed exceptionally well. Lachall used all of her areas of expertise to balance the rain tapping on the glass, the thunder booming in the distance, the wind blowing against the house, and the lighting flashing through the window through the use of strobe lights backstage. All of this was done at no distraction to the scene taking place and only enhanced the setting. 

Another thing that enhanced the setting was the costumes, designed by Betsy Berwick. Berwick chose a variety of patterns, fabrics, and colors for each character. Each costume piece said a lot about each character and made them stand out among the large ensemble. With a cast-heavy mystery like this, strong direction is essential, and this production benefits from a clear guiding hand that keeps the story on track. Director Timothy Oskin, assisted by Assistant Director Kristy Boyer Chen, picked the perfect team of actors to bring these classic characters to life. No actor outshined the other and they all worked in perfect tandem with each other, making it a true ensemble piece. The blocking was perfectly balanced so there was always someone or something in motion and kept things from getting stale or stagnant. Especially with such a large cast, this inspired use of blocking heightened the stakes without saying a word and kept the story moving. 

At the center of any mystery is its ensemble, and this production relies heavily on its cast to sustain both the tension and the intrigue. While their time on stage is brief, Chas Thomas as Fred Naracott and Vince Fox as Anthony Marston, are memorable and do a lot with a little. Thomas embodied the grittiness of a sailor and contributed to the early sense of tension while Fox brought a jovial air to the party which really made his fate as the first to die that much more of a shock. Eric Crist and Dena Daniel, respectively, play Rodgers, the butler, and Mrs. Rodgers, the housekeeper. The pair had a good chemistry with each other especially at the beginning of the show as they banter like the old married couple that they are before the stakes rise. Crist embodied being a man of duty, especially in his moments where he is in a daze trying to do his work moments after losing his wife. While there was great use of accents throughout the show, Daniel’s cockney accent was an excellent stand out. I enjoyed seeing how her personality changed slightly from when she was talking to her husband to one of the guests and how you could see her stress slowly start to show. 

Susan Bolt plays Emily Brent, a judgemental and snooty old woman who puts her Christian values above all else. Brent’s attitude radiated through all aspects of Bolt’s performance from the way she walked, spoke, and even motioned her body. Bolt’s sharp facial expressions really sold that Brent was judging every little thing that someone was doing. On that note, Amanda Pasquini as Vera Claythorne shined the most in the unspoken moments. Her facial expressions were perfect and you could almost read Vera’s mind in those moments and know exactly what she was thinking and feeling. Even in the moments where she didn’t have lines her facial expressions and body language fully told the story. Mike Solokowski brought a sarcastic and cocky personality to Phillip Lombard. With a sense of humor, Solokowski brought confidence to Lombard and played him with a cool assurance that kept the audience guessing, balancing likability with suspicion.

Glen Macnow’s General McKenzie was one of the most intriguing presences onstage. Older than many of the other characters, McKenzie has had more time to reckon with both his guilt and his mortality, and Macnow captures that sense of weary acceptance with quiet restraint. This emotional groundwork makes the character’s final monologue particularly effective, delivering a moment that feels earned, reflective, and deeply human. As Dr. Armstrong, Kevin McPeak serves as a steady voice of reason amid the growing chaos, maintaining a stoic composure that lends the group a sense of stability. That calm makes his sudden, offstage fate all the more surprising, removing a grounding presence just when it feels most needed.

Thomas-Robert Irvin brings William Blore, a former detective, to life with a natural blend of authority and humor. Even amid the story’s heightened stakes, Irvin never has to force a laugh due to his effortless wit. He balances anger and logic, portraying a character who tries to keep everything under control while remaining convincingly human. Michael Steven Schultz commands the stage as Wargrave, at first a quiet observer quietly watching the chaos unfold. His early restraint makes him easy to overlook, but hints of sharp intelligence and meticulous control ripple beneath the surface, giving off a subtle Hercule Poirot or Benoit Blanc energy. By the climax, Schultz flips the character completely, revealing Wargrave’s cunning and intent with a precision that makes every earlier moment of calm feel loaded with purpose. It’s a masterclass in suspense, showing how much tension can be built simply by holding back until the perfect moment.

It wouldn’t be a mystery without the action and Andrew Staub’s Fight Choreography brings it all together just when the stakes are at the highest. Every move, from a sudden choke to a dramatic fall, lands with precision, making the action feel urgent and real while remaining completely safe. The speed and timing of the scene keep the audience on edge, and the flawless execution heightens the suspense, giving the finale a sharp, electrifying energy that lingers long after the last blow. Fight choreography is essential in theater, and it shows when a trained professional isn’t involved. Beyond safety, a skilled choreographer ensures the action looks realistic and seamless. I hope more theaters make the investment, because well-staged fights elevate the story and keep both performers and audiences safe.

In a cultural moment where mysteries are once again capturing imaginations across generations, And Then There Were None proves just how durable and adaptable the genre can be. This production at Players Club of Swarthmore runs until February 14th and taps into the same curiosity and communal excitement that make thrillers so irresistible, inviting the audience to play along until the very end. By embracing the story’s suspense and letting the questions linger, the show offers a satisfying reminder: no matter the era, we still love a good puzzle. Tickets can be purchased at https://ci.ovationtix.com/117/production/1238822