Press 1 for Near-Perfect ‘Murder,’ Press 2 for Period Thriller

When Frederick Knott’s “Dial M for Murder” opened on Broadway in 1952, it caused goose bumps in audiences via a most unusual twist.

The seemingly perfect murder backfires in Act 1, when the victim accidentally stabs the killer. This occurred in an almost total blackout, prolonging the suspense of whether the leading lady had been done in.

She’s the one who grabs the scissors to defend herself, and she’s soon convicted of murder. It’s a very effective moment and the highlight of an affectionate and almost flawless revival at the Huntington Beach Playhouse.

Director Michael Ross has kept the play in its original period, 1952, and Martin Eckmann’s charming and evocative scenic design of the Wendice London flat sets both time and place unerringly. Landee Lockhart’s costumes are also just right, from the Dior New Look of the dresses for victim-turned-attacker Margot Wendice to the rumpled topcoats for the men.

Margot (Della Lisi) is entertaining American television mystery writer Mark Halliday (Thom Gilbert) before introducing him to her husband, ex-tennis star Tony Wendice (Mark Schuliger).

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They don’t think that Tony knows about their affair of the past year, but they’re nervous. He does know, however, and it is quickly established that Tony has arranged for his wife’s murder on that very night, while he and Mark are at a stag party.

The phone rings at the proper time, Margot answers it, the hired killer leaps out from behind a drape, and that’s when the fun begins.

How to clear Margot of a murder rap becomes an obsession with Halliday, and it turns into a cat-and-mouse game between him and the not-so-aggrieved Tony, with help from Scotland Yard’s Chief Inspector Hubbard.

The affection with which Ross has approached this classic shows in his attention to detail, his sure sense of the rhythms of suspense and the bright tempos that make it so entertaining.

All of the performances are first-rate, especially Lisi’s as Margot. At the beginning she’s overflowing with touching cheer when faced with Mark’s meeting with Tony, and later she shows subdued strength as Tony’s false net closes around her. It’s an expert performance rich in detail and high color.

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Schuliger also stands out as Tony, as bright and personable a fortune-hunter as one could wish, with an eerie thread of viciousness underneath. Gilbert’s solid and stalwart American writer provides just the right balance between the victim and her husband. Joseph Bass is restrained and effective as Tony’s ex-college mate, who gets trapped into accepting the assignment for Margot’s murder.

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Andrea La Vela gives a nicely restrained and worthy performance as Chief Inspector Hubbard, but she can’t override the fact that the dialogue was written for a typically English John Bull type, so familiar to British mystery fans. Ross’ one slip is the casting of that role. Not in London, and not in 1952, would a woman be a chief inspector at Scotland Yard, even if the dialogue is rewritten. It takes the edge off an otherwise fine revival.

* “Dial M for Murder,” Huntington Beach Playhouse, 7111 Talbert Ave. 8 p.m. Thursday-Saturday, 2 p.m. Sunday. Ends Sunday. $10-$13. (714) 375-0696. Running time: 2 hours, 30 minutes.

Della Lisi: Margot Wendice

Thom Gilbert: Mark Halliday

Mark Schuliger: Tony Wendice

Joseph Bass: Capt. Lesgate

Douglas Ewen: Reporter

Andrea La Vela: Inspector Hubbard

A Huntington Beach Playhouse production of Frederick Knott’s thriller. Produced by Martin G. Eckmann and Harold Gooder. Directed by Michael Ross. Scenic design: Martin Eckmann. Lighting design: Bob Ashby. Costumes: Landee Lockhart. Stage manager: Sharon Maxwell.