A Conversation With Jules Aaron, Director, “Agatha Christie’s The Murder of Roger Ackroyd”, Theatre Forty, by James Scarborough

Jules Aaron’s direction of “Agatha Christie’s The Murder of Roger Ackroyd” at Theatre Forty promises to be a masterful rendition of Mark Shanahan’s stage adaptation. This production marks a significant moment in Christie’s oeuvre, bringing her 1926 novel - renowned for its groundbreaking twist - to life on the West Coast stage for the first time.

Aaron, with his extensive directorial experience and numerous accolades, is set to navigate the intricate balance between Christie’s clever plot machinations and the demands of live theater. The challenge lies in preserving the novel’s shocking denouement while crafting a visceral, immediate experience for us.

The casting of Michael Mullen as Hercule Poirot is intriguing, as the actor must embody Christie’s iconic detective without falling into caricature. The ensemble cast faces the task of bringing depth to Christie’s colorful characters, ensuring they’re more than mere plot devices.

Jeff G. Rack’s set design will be crucial in creating the atmosphere of 1920s England, while Michael Mullen’s costume design must subtly reinforce character and period. The technical elements, including Derrick McDaniel’s lighting and Nick Foran’s sound design, will be instrumental in maintaining the production’s suspense and pacing.

This production not only celebrates Christie’s enduring appeal but also tests the adaptability of her work to new mediums. Aaron’s interpretation will inevitably be judged on how it honors the source material while offering fresh insights for both Christie aficionados and newcomers to her work.

Below follows an email conversation with the Director.

JS: How will you approach the challenge of maintaining the novel’s famous twist ending in a theatrical setting, where the audience’s collective reactions might potentially telegraph the reveal?

JA: Christie's book and Shanahan's adaptation visualize the story as a large puzzle where the pieces use a series of red herrings filtered through the narrator's shared journal which leaves enough clues for the collective audience to see the story vividly through the eyes of someone who may be an unreliable narrator.  Once we're on his wild rollercoaster ride, there isn't time to figure it out until the startling denouement.

JS: In adapting Christie’s detailed narrative style to the stage, what strategies will you use to convey complex plot points and character backgrounds without relying on exposition?

JA: Michael Mullen and I have both seen the five or six amazing filmed Poirot novels--including the most current David Suchet series.  Christie has developed this meticulous Belgian--not French--detective whose use of his gray brain cells is no match for the clumsy inspectors who often belittle him.  The trick is to find a physical presence that combines the fanatical little man with his healthy ego and often surprisingly sympathetic force representing the truth.  He is more than an odd mustache and cosmopolitan manners; he must figure to be determined to bring justice at any cost.

JS: How will you work with Michael Mullen to develop a portrayal of Hercule Poirot that respects Christie’s characterization while offering new insights into the detective?

JA: I have directed seven Christie plays, and I hope that my background with stage pictures combined with digging into the inner lives of characters who live in a world of a distinctive period--here the 1920's, with their particular behavior -- with the help of great designers and actors-- will create the small town British circuitous world of Roger Ackroyd

JS: Discuss the collaborative process with set designer Jeff G. Rack in creating a stage environment that both serves the practical needs of the production and evokes the atmosphere of 1920s England.

JA: The many locations in the play primarily focusing on Fenley Hal but including over 10 locations which the adapter suggests can be done through “the magic of light”, therefore key pieces of furniture which anchor us to the period need to blend to double and triple for several specific areas yet suggest an encompassing picture. There are no blackouts so the many looks must fade seamlessly from one area to another.

JS: Given the play’s recent premiere and limited production history, how will you balance honoring the original adaptation with putting your own directorial stamp on the material?

JA:  Within the guidelines of moving from one area to another, the selection of furniture, noir underscoring, and lighting will help us find our own specific world of the play, a world in which of course, the actors must become comfortable living in in order to tell Christie’s story well.

JS: In what ways does your experience directing both stage and television productions inform your approach to pacing and visual storytelling in this mystery?

JA: Fortunately, I have an extensive background in creating the atmosphere necessary to enhance the audience’s journey through the twists and turns of a thriller. It also helps that I’ve directed 7 Christie thrillers.

JS: How will you ensure that the supporting characters in the ensemble cast are fully realized, given the novel’s focus on Poirot’s investigative process?

JA: Actually, both the novel and play have a split focus in telling the story through the narrator, Dr. Sheppard’s, point of view as well as chronicling Poirot’s efforts to solve the crime. Even though the focus is primarily on these two characters, like the novel, the other characters are a colorful ensemble making up the gossiping residents in this small British village.

JS: Elaborate on the role of Michael Mullen’s costume design in reinforcing character traits and period authenticity without overshadowing the performances?

JA: the costume design, like the amorphous set, sprinkled with Twenties furniture, will suggest character, station and hopefully inner life with an autumnal palette which suggests small town life -- rather than dot every "i" -- to infer a feeling rather than overdone details.

JS: How will you collaborate with lighting designer Derrick McDaniel and sound designer Nick Foran to create moments of tension and revelation throughout the production?

JA: I have worked with both Derrick and Nick in using a noir approach to light and sound to underscore the classic story and enhance the twists and turns of Christies' dark thriller (as usual leavened with the humorous quirks of her characters).

JS: What makes “Agatha Christie’s The Murder of Roger Ackroyd” particularly suited for stage adaptation? How does it resonate with contemporary audiences?

JA: Roger Ackroyd is perfect material for the stage.  Like the stage manager in “Our Town”, it is narrated by a quite charming and successful small-town doctor with a great eye for detail, aided by an astute detective and the equally clever doctor's sister who is the queen of town gossip.  Mark's adaptation moves smoothly through a deadly weekend with a colorful lying cast of characters with only blackouts at the end of the two acts.  The clever twists and turns are beautifully crowned by one of christie's most moving and haunting endings.

Performances are Thursdays through Saturdays at 7:30 p.m. and Sundays at 2:00 p.m., from November 14 to December 15, 2024. Tickets are $35. Theatre Forty is on the campus of Beverly Hills High School, located at 241 S. Moreno Drive, Beverly Hills, CA 90212. For more information, click here.