Sandford, Christopher 480
Saunders, Sir Peter 3, 16, 17, 25–7, 137, 159, 257; archives 25–7; AC on 291; Black Coffee and 267–8; business success of 290–1; consolidation of position in West End 498–9; contribution to theatre 26–7, 554–5; A Daughter’s a Daughter and 428, 429, 434, 437, 438, 439, 440, 442; death 554; early struggles of 257–9; Fiddlers Five and 541; first meets AC 266–7, 291; Fly Away Peter and 257, 423; Go Back for Murder and 483, 484, 490, 491, 493, 494; The Hollow 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, 311, 377; importance to AC’s theatrical career of 290–2, 414, 554; knighted 554; marriage to Ann Stewart 494; marriage to Katie Boyle 554; The Mousetrap and 17, 25, 26, 310–11, 312, 313, 314–20, 322, 323, 324, 325, 327, 328, 329, 330–1, 332–3, 345, 346, 347, 348, 349, 552; Murder at the Vicarage and 258–9, 267; The Poison Belt and 258, 259; Rule of Three and 499, 500, 507, 508–9, 510–11, 512, 513–15, 516–17, 518, 520, 521, 524, 525–7, 528; Scales of Justice and 335; Spider’s Web and 401, 402, 406, 407, 410, 412, 413; The Mousetrap Man 16, 77, 82, 159, 257–8, 271, 330, 376, 382, 401, 418, 445, 467, 499; theatre establishment, fight against 3, 257–8, 271, 290, 292, 443–5, 554; Theatrical Companies Bill and 399, 443–4; To Dorothy, A Son and 420; Towards Zero and 422, 423, 424, 425, 426, 428; The Unexpected Guest and 467, 468, 473–4, 475, 477, 478–9, 481; Verdict and 445, 446, 447, 451–2, 456, 457, 458, 459, 460, 462–3, 464, 465, 466, 467; visits to Greenway 291, 334; Witness for the Prosecution film and 390–1, 392; Witness for the Prosecution UK production and 334, 335, 336–7, 338, 340–77, 421, 422; Witness for the Prosecution US production and 377–90
Saville Theatre, London 278
Savoy Theatre, London 287, 376, 410, 464, 466, 483, 546, 552
Sayers, Dorothy L. 88, 153, 335, 376
Schoenfeld, Gerald 182, 183
Schopenhauer, Arthur 450
Second World War (1939–45) 6, 10, 11, 148, 152, 156–7, 158, 159–60, 165, 169–74, 177–81, 191, 192, 215, 218, 224, 226, 254, 260
Sekers, Nicholas ‘Miki’ 532–3
Select Operating Corp 181
Select Theatres Corp 220
Selwyn Theatre, New York 503
Shaftesbury Theatre, London 75, 258, 551
Shakespeare Memorial Theatre, Stratford upon Avon 167, 343
Shakespeare, William 9–11, 26, 138, 167, 194, 232, 315, 320, 366, 378, 502
Shannon, Effie 105–6
Shaw, George Bernard 40, 43–4, 50, 93, 143, 535, 549; Caesar and Cleopatra 378; Don Juan in Hell 456; Getting Married 40, 44, 53; Man and Superman 43, 93; Pygmalion 401, 452–3
Shelley, Elsa: Pick-Up Girl 313, 314, 317, 322
Sherman Anti-Trust Act, 1890 292
Shubert, Jacob J. ‘J.J,’ 182, 183, 233, 300
Shubert, John 300, 301
Shubert, Lee 241; achievement in theatre 182–3; character 182, 183, 186, 234, 377; death 300, 377; early years in theatre business 182–3; Hidden Horizon and 233, 234, 241, 292; Ten Little Indians and 183, 184, 185, 187–8, 292; The Hollow/The Suspects and 293, 294, 296, 297, 298, 299–300; Towards Zero and 209, 219, 220–1, 225, 234, 292–3
Shubert Brothers 241, 378, 386, 390, 481, 535; American theatre history, place in 182–3; Archive xi, 27, 183, 221, 237; death of Lee Shubert and 300; early days of 182; Hidden Horizon and 218–19, 229, 233–6, 237, 241, 292; monopoly on New York theatre 253, 256, 292; present day standing of 301; Shubert Theatre, New Haven and 389; Ten Little Indians and 27, 181, 182–5, 186–8, 189, 190, 246, 292, 452; The Hollow/The Suspects and 292–301, 377, 379, 388, 452; Towards Zero and 208–9, 210, 218–21, 223, 225–7, 234, 292–3, 303, 416
Shubert, Sam 182
Shubert Theatre, New Haven 389
Shulman, Milton 427
Silverman, Sydney 400, 489
Sim, Sheila 311, 312, 314, 322, 324, 341, 345, 403, 406
Simpson, Helen 88
Simpson, Reginald 159
Singer, Campbell 406
Sinodun Players 35
Skolsky, Sidney 106, 107
Slade, Jope 97
Small, Edward 392
Smith and Whiley Productions 438
Smith, Dodie 5, 14, 153, 192, 271, 424, 440
Society of Dramatic Authors and Composers (France) 125–6
Society of West End Theatre 269, 288, 290
Society for Theatre Research 303
Spencer, Charles 441
Spencer, Jessica 287, 317
St Clare Byrne, Muriel 153
St James’s Theatre, London 170, 171, 174, 179, 193, 257, 378, 414, 423, 441
St Martin’s Theatre, London 55–6, 57, 75, 84, 85, 87, 89, 92, 94, 98, 99, 100, 149, 290, 322, 382, 405, 474, 499, 518, 551, 552
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, 9
6, 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 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
Index of Agatha Christie Works and Adaptations
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