Murder in Stained Glass by Margaret ArmstrongMeet Miss Trumbull, a stout talkative New Yorker with perfect manners and a passion for sleuthing.
When the remains of temperamental artist, Frederick Ullathorne, are found in his own fiery kiln it looks like a ghastly murder has been committed. But with only a few bones as evidence the local police are getting nowhere fast. Can Miss Trumbull pick up the clues that the police are missing? Or will her interfering get her into trouble in more ways that one?
Fast paced and a lot of fun
If you like Agatha Christie then youll love Miss Trumbull.
This delightful whodunnit by Margaret Armstrong was first published in 1939. It is the first in the American Queens of Crime series from Lost Crime Classics
A Murder Is Announced Review by Agatha Christie - Book Review
Theatre Review: Murder, Margaret & Me
When libraries and bookshops, as well as television and films, are flooded with crime fiction, Agatha, it seems, is still as popular as ever. How did she do it? Fifty-two novels and nine short story collections? No digital voice recognition in those days either. The play opens with a set in which items of large furniture are covered in white sheeting. Now, both now well into their seventies, they have a shared history and we follow them through various locations, beginning and ending with a pleasant garden scene where they can enjoy the sunshine, sitting under a large laburnum tree, and then through a succession of interiors of varying grandeur.
You’ve got to hand it to Agatha Christie. We’re in the 'sixties, during which author Philip Meeks imagines an evolving friendship between Christie (Kate Brown) and the actress Margaret Rutherford (Sarah Parks), whom Meeks describes in the programme notes as "a sweet bundle of.
hiccup the viking who was seasick
Review: Murder, Margaret and Me at York Theatre Royal Show Info
Just a few great actors, a well tuned script and occasionally a clever set. So while she might not look like Rutherford, she captures the essence of the woman.
Without doubt the finest all-round production was the last. Ugly Lies The Bone is an extraordinary play to find at the National Theatre: extraordinary because it is so slight. Having read that virtual reality techniques are being used to treat chronic pain sufferers, Lindsey Ferrentino decided to feature them in a play — which she has yet to write. She creates a potentially rich central character in Jess, a volunteer soldier, horrifically injured in Afghanistan given a deeply committed and clinically accurate performance by Kate Fleetwood , but, some trivial relocation issues aside, there is no dramatic, intellectual or even human interest. Hamlet drags on for four hours in the most bone-crushing auditorium in London. But the discomfort is not merely physical. Hamlet speaks to the ghost via a PA system; Polonius whispers to a bug in his lapel; Fortinbras addresses the audience by video link etc.