Curtain Up

by Julius Green

  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 Illustrated 502

  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