Curtain Up: Agatha Christie: A Life in Theatre. Julius Green

Foreword

      A couple of years ago, my friend Julius Green came to see me looking unusually nervous! He said he wanted to write an important history of my grandmother Agatha Christie’s plays and asked if I would give my approval. I did so immediately, because I knew of Julius’ huge knowledge about her plays, and the admiration and passion he had for them. I remembered when we shuttled back and forth on a train to Westcliff-on-Sea in 2001, when Julius organised a festival of all her plays, which was not only a huge success but became a piece of history in itself. Recalling that time, and Julius’s long involvement with the Agatha Christie Theatre Company, I knew I could rely on him to be the right man for the job.

      But then there was something more. Although my grandmother wrote plays before the 1950s, the great explosion of interest that occurred around the time of the opening of The Mousetrap and her other successes coincided with the period in my childhood when I spent the most time with her, and became aware what a star she was (even though she hated people saying that!). Therefore nobody could appreciate more than I do how much of a contribution her dramatic output made to her unrivalled reputation, and I am delighted to have in Julius’s book such a fitting tribute to the genius of Agatha Christie as a playwright to help balance her better known achievements as an author.

      In addition, I was fascinated by Julius’s insight into the theatrical history of the period, to learn of the forthright personalities of the major players, and to read how my grandmother coped so calmly whilst all around her were living their theatrical lives.

      All in all, a real treat for everybody!

      MATHEW PRICHARD

      June 2015

       A Note from the Author

      Given the quantity of published and unpublished material that is quoted in this book, I have decided to standardise various elements of it in order to assist the reader. This includes the layout of playscripts and the style in which the titles of works are expressed: in italics if quoting from a publication and not so if quoting from correspondence. My own occasional comments in the midst of quoted material are indicated by [square brackets]. Minor spelling and typographical errors in original documents have been corrected unless I believe them to be of interest, in which case they are indicated with (sic). Documents quoted in this book which date from before the 1950s tend to refer to what we now call the director of a play as the ‘producer’ and what we now call the producer as the ‘manager’. In such cases I have included a clarification. A number of Agatha Christie’s plays underwent changes of title; where this occurred, the title used in this book is that of the particular draft, production or published edition being discussed.

       Agatha Christie’s Family Tree

       Behind the Scenes

      This is the story of the most successful female playwright of all time. She also wrote some books.

      Agatha Christie (1890–1976) is universally acknowledged as the world’s best-selling novelist, and yet the significance of her contribution to theatre has been largely overlooked by historians. This despite the fact that she is responsible for a repertoire of work that enjoyed enormous global success in her own lifetime and continues to do so more than forty years after her death. She not only holds the record for the world’s longest-running theatrical production, but is also the only female playwright to have had three of her works running in the West End simultaneously. Her first attempts at playwriting date from around 1908 and her last completed play premiered in 1972. Nine of her plays opened in the West End in the 1940s and 1950s alone, and two of them were big hits on Broadway. For Christie, theatrical success arrived relatively late in life; it brought her much pleasure and, despite her legendary shyness, she enjoyed the company of theatrical people and relished their eccentricities.

      From the point where she finally broke through as a playwright in the 1950s, it is clear that Christie continued to regard writing books as her day job, but that she found true creative fulfilment in her work for the stage. In her autobiography she notes:

      Of course I knew that writing books was my steady, solid profession. I could go on inventing plots and writing my books until I went gaga … writing plays seemed to me entrancing simply because it wasn’t my job, because I hadn’t got the feeling that I had to think of a play – I only had to write the play that I was already thinking of. Plays are much easier to write than books, because you can see them in your mind’s eye, you are not hampered by all the description that clogs you so terribly in a book and stops you getting on with what’s happening. The circumscribed limits of the stage simplify things for you. You don’t have to follow the heroine up and down the stairs, or out to the tennis lawn and back, thinking thoughts that have to be described. You only have what can be seen and heard and done to deal with. Looking and listening and feeling is what you have to deal with.¹

      In a 1951 article on Christie, The Stage newspaper reported that she found writing plays easier than writing books because ‘With a play you can go straight to your plot and characters and you have not to deal with the problem of describing scenes and the movements and habits of people. If you are at all successful, all this appears automatically through your characters and the action in which they are involved.’² And, in an interview for the BBC Radio Light Programme in 1955, she once again stated that ‘Of course writing plays is much more fun than writing books … you must write pretty fast, keep in the mood and keep the talk flowing naturally.’³

      Some commentators have interpreted such remarks as implying that, whilst writing books was Agatha Christie’s profession, writing plays was simply her hobby. My own view is that, for a writer who had a real aptitude for dialogue and who, by her own admission, felt hampered by ‘description’, playwriting was her true vocation. And her determined, twenty-year struggle to gain recognition as a dramatist bears witness to this. Like most playwrights, Agatha Christie has her good and her bad days but, speaking as a theatre practitioner rather than an academic, it seems to me that she is both a master of her craft and a unique and witty voice with a great deal to say about the human condition. Actors always seem to enjoy engaging with her characters and find much in them to relate to, belying the popular misconception that they are thinly drawn caricatures. Her work is laced, whether consciously or not, with echoes of the other great playwrights of the era, and some of the most celebrated actors of the day appeared in her plays.

      So why has history been so unkind to Agatha Christie, playwright? At the height of her popularity in the 1950s the dominant producing force in the West End was Binkie Beaumont, but Christie’s most enduring working relationship was with Peter Saunders, a rival impresario who was openly critical of the monopolistic tendencies of the Beaumont empire. So, despite her popular success, Christie was notable for working outside the established (and at times fearsomely ruthless) West End oligarchy of the day; a fact that makes her achievements all the more remarkable. As a doyenne of the ‘well-made play’ she remained delightfully untouched by the Royal Court revolution and consequently does not even feature in the vocabulary of those academics for whom the history of twentieth-century British playwriting started with Look Back In Anger in 1956. She thus occupies a unique position as a playwright, outside both the prevailing theatrical culture and its counter-culture; and her theatrical vocabulary suits the historians of neither.

      Another very straightforward reason for the neglect of Christie as a playwright is continued confusion over the authorship of the plays credited to her. As well as her own work for the stage there have been a number of second-rate adaptations of her novels by third parties; and this,