Sleuth at Theatre Three
“Sleuth,” written by Anthony Shaffer, is a 1970 mystery-thriller play about a man who invites his wife’s lover to his house with the intention of killing him. Theatre Three’s adaptation cleverly uses theatrical surprises and twists to maintain the audience's attention throughout the performance.
The play is staged in a thrust configuration, placing the audience around a meticulously designed manor’s home office. Jeffrey Schmidt’s set design immediately sets the tone. A marble bar cart on the right, a desk on the left, and a fireplace on the front wall suggest that the occupant is an elegant, game-loving writer who thrives on order and precision. These clues are further enriched by Kennedy Smith’s prop design, which cleverly reveals character details. For example, a prominently displayed thick, worn-out wallet subtly hints that while the protagonist may be a perfectionist, he is not as detail-oriented as he wants us to believe.
As the show begins, we are introduced to Andrew Wyke (Malcolm Stephenson), a writer passionate about mystery. During Act I, Stephenson embodies Andrew with elongated, confident body language, refined gestures, and a polished accent. His emphasis on certain words and phrases exudes authority and intelligence, establishing his high status and unwavering confidence in his schemes. This seriousness is offset by Andrew’s playful delight in using games to pursue his sinister plans, giving the character a layered complexity. However, subtle inconsistencies emerge in Andrew’s persona, hinting at his imperfections. Stephenson cleverly integrates these flaws into his performance: while Andrew demands perfection, such as repositioning a small item or wiping a glass before serving, he simultaneously overlooks details, like placing his glass on the desk without a coaster or trampling over his prized manuscript. These contradictions reveal that Andrew is not as meticulous as he appears.
Andrew’s guest, Milo Tindle (Benjamin Stegmair), is introduced as a much younger man who is in a relationship with Andrew’s wife, Marguerite. Stegmair’s portrayal of Milo is initially deceptive, with weaker posture, hesitant speech, and nervous facial expressions. This leads both Andrew and the audience to underestimate him, assuming that Milo is an easily manipulated young man and that Marguerite views the relationship as nothing more than a casual fling. Stegmair subtly layers Milo’s performance with an undercurrent of manipulation that is present from the beginning. He plays both Andrew and the audience, masterfully misleading us into believing Milo is weak. For instance, Milo visibly sheds a tear when a gun is pointed at him or refrains from reacting when a prop is broken, heightening his apparent vulnerability. However, Act II (spoiler alert) flips this perception entirely. Milo’s true nature emerges, revealing a cunning, manipulative man who is not actually Marguerite’s upgrade—a younger, smarter, and more dangerous partner. Even during the bow, Stegmair maintains Milo’s elevated status, ensuring the character’s dominance lingers with the audience long after the performance ends.
Photos by Jeffrey Schmidt
The exceptional storytelling embedded in the costumes is something that must be talked about. Christie Vela’s costume design encapsulates the essence of these characters and their arcs. During Act I, Andrew’s attire reflects his calculated attention to detail, perfectly harmonizing with the manor's decor. His tailored, impeccably pressed clothing aligns seamlessly with his personality and environment. Meanwhile, Milo’s outfit is a stark contrast—disheveled, stained, and clumsy. His pants are half-tucked into worn shoes, his undershirt is dirty, and his socks have holes. The mismatched colors suggest an inexperienced man trying—and failing—to make a good impression, perfectly complementing the facade Milo presents. However, in Act II, Milo’s wardrobe undergoes a dramatic transformation. His clothes become tailored and sharp, and his color palette integrates seamlessly with Andrew’s house. This shift visually represents Milo’s calculated intent to take everything from Andrew, cementing the power dynamic reversal between the two characters.
This play feels like a reflection of Andrew’s mind—seemingly perfect and detail-oriented at first glance, but with underlying flaws that subtly undermine its perfection. This meticulousness is evident in the thoughtfully crafted design elements: a puppet that lets out an eerie laugh, a porcelain figure whose head shatters with the firing of a gun, a fireplace wall that flips to reveal a balcony, and Stegmair’s clever surprise use of blood. These moments give the illusion of a flawless, controlled environment, mirroring Andrew’s perfectionist nature.
However, just as Andrew’s persona begins to crack, so too do the details of the production. A clock perpetually stuck at 8 o’clock clashes with the characters’ references to time passing, creating a dissonance that pulls us out of the illusion. Similarly, the construction of the left wing as a functional space feels inconsistent. Early on, Andrew opens the door for Milo and asks him to remove his jacket in this area, which we clearly see. Yet moments later, Milo uses the same space to hand off a prop to a crew member, breaking the seamlessness. If these inconsistencies are intentional, Emily Scott Bank’s direction adds a layer of intrigue, subtly mirroring Andrew’s inability to maintain complete control over the chaos around him.
By weaving together intricate details in the set, props, costumes, and character development, Theatre Three’s adaptation of Sleuth creates a thrilling game of wits that challenges both the characters and the audience. Despite moments of dissonance that could be seen as imperfections, they cleverly mirror the underlying cracks in Andrew Wyke’s persona and plans. With its theatrical surprises and compelling twists, Sleuth keeps the audience engaged from start to finish, leaving us marveling at the artful interplay between control and chaos, perfection and imperfection, and, ultimately, the layers of deception that define this gripping mystery-thriller.
RUNNING: Through December 15, 2024
VENUE: 2688 Laclede St, Dallas, TX 75201
TICKETS: https://www.theatre3dallas.com/