Nick Mandracchia, George Psarras, Drew Benjamin Jones, Maria Marquis (center), and Gwynnevere Cristobal (front) Photo by Christian Pizzirani

In 1952, famed murder mystery author Maxine Hadley arrives in London and drops in to visit her former lover, Margot Wendice. Maxine is surprised to learn that an explicit love letter she had sent to Margot has been stolen and is now being used by someone to blackmail Margot. Even though their love affair had ended a year earlier, both know that it would be a disaster if the letter were shared publicly, especially with Margot's husband, Tony, who is also Maxine's current publicist for her much-anticipated, upcoming novel.

But Tony Wendice knows much more than the two women suspect, and he has been plotting a special revenge for his wife's past infidelity, even though he knows the affair is over. The detailed plan he has set in motion is perfect in every respect–or so he thinks.

Deceptions and lies multiply by the minute as Tony's jealousy sets in motion actions and reactions that become fodder for a brilliant mystery quite unlike most. Rather than a typical "whodunit," Dial M for Murder quickly transforms into a "who-will-get-away-with-it." The audience sees and knows where all the guilt lies; and even sees the missteps made by the guilty party along the way. What we don't know and what keeps us on tenterhooks with bated breath is if anyone else figures out what we know before it is too late.

Director Mark Anderson Phillips and his creative team have "out-Hitchcock-ed" in dozens of captivating ways the master himself in all aspects of this production. Lighting so deliciously designed by Justin Kelley-Cahill plays a starring role, as an all-important telephone sitting on a desk is often the first and last spotlight of a scene, as shadows cast eerie arms as if reaching out to strangle an unsuspecting person looking out the window, or as colors suddenly shift to blood red as another shocking event occurs.

As co-sound designers, Phillips and Psarras ensure we are in a 1950s atmosphere with sounds of the era's music, even a half hour before the action begins on stage. We are also reminded of the famous movie by scene- and event-shifting transitions that are underscored by the kind of music we recall from that era's films of mystery. The duo's sound effects become tools for Phillips to use as director to elongate our suspense as a climactic doorbell buzz rings out for at least thirty seconds, piercing in volume through a darkened room where three breathless plotters await the entrance of the one we and now they know is guilty.

Ron Gasparinetti's impressive scenic design along with Karen S. Leonard's period-rich properties establish an English setting of the early 1950s that reminds us of scenes from that era. Topping off the stellar effects are the costumes designed by Kristin Lundin in which the sleek, tight-fitting dresses for the two women smack of their inner desire for each other and the choices of a husband's wardrobe expose his smug confidence and his taste for the good life.

All of this would be for naught without a cast that, to a person, hits the bull's eye in each performance. In magnetically attracting British accent, George Psarras as Tony Wendice leans into his breathy phrases to milk all he can as he spins his webs of lies and manipulations. His thick, dark eyebrows broadcast their own tale to lure others to do as he wants or to believe what he purports. His plagued, paused pose as his head leans against a closed door listening to his wife and her ex-lover whisper and laugh, or his fierce pounding of a pick into a bucket of ice when his well-spun web starts to disintegrate are just two examples of a director's and an actor's teamwork paying off big time to heighten the script's ever-increasing drama.

Gwynnevere Cristobal and Maria Marquis are the keys that unlock new titillating possibilities to provide Knott's original script with much more grip and punch in Hatcher's adaptation. As Margot Wendice and Maxine Hadley, respectively, their split-second side glances at each other, quick chance of an intimate touch, or shared laugh with a meaning known only to them greatly add to the ever-mounting suspicions of the frequently observing Tony. Margot is the more settled of the two in her new life, post-relationship, living in comfortable style and volunteering left and right with the women of her societal position. However, she is clearly not that upset as Maxine takes every chance possible to slip an arm around her while sitting body-to-body on the sofa, often as Maxine directly eyes the clearly observing Tony. All again is due to a magnificently well-knit collaboration between the play's adapter, director, and cast.

As she often does, Maria Marquis comes close time and again to stealing the show as she employs a myriad of gestures, facial expressions, and purposeful poses to exploit the bold and brassy confidence that Maxine has in her abilities to figure out what is really going on. Maxine is not beyond others' suspicions of deceiving her former lover in order to acquire revenge for rejection or a fortune for life's comforts, but she in the end an accomplished sleuth who could give Sherlock Holmes pause.

Rounding out the cast are two drop-ins who leave significant impact on both the story and the impressions they leave as actors. With just the right amount of portrayed shade and sleaze, Drew Benjamin Jones plays a man of many past names, personalities, and blackmails of unsuspecting women–a man currently known as Lesgate. Tony has resurrected this pal of his past and invited him for multiple brandies and a tempting offer.

Nick Mandracchia is the epitome of a London Yard Chief Inspector as the non-emotional, straight-arrow Hubbard arrives to meticulously piece together a completed puzzle whose picture we know is all wrong. While his countenance never gives away Hubbard's true leanings or intentions, we discover there is much more true compassion and nagging curiosity going on than meets the eye.

In the end, we are not surprised of who is the guilty party in Dial M for Murder, but we are amazed at our own level of sweaty anticipation to see how it all ends. Even for those who may have seen the Hitchcock film one too many times, City Lights Theater Company's production of Jeffrey Hatcher's stage adaptation is loaded with surprises, suspense, and satisfaction.

Dial M for Murder runs through April 12, 2026, at City Lights Theater Company, 529 S. 2 nd Street, San Jose CA. For tickets and information, please visit www.cltc.org.