Balancing Mystery and Farce: CODA’s "Spider’s Web”
- Alexa Keeble
- Nov 14
- 4 min read
Agatha Christie's Spider's Web
Thursday 13 November until Sunday 16 November 2025
It was genuinely heartening to walk into the theatre and see it absolutely buzzing with people, every seat filled and the room alive with anticipation. Am dram theatre thrives on this kind of support, and on this particular evening the audience certainly showed up, demonstrating just how valued local productions truly are.
This production of Agatha Christie’s “Spider’s Web” was directed by Michael Hall, whose experience and steady guidance were evident throughout the performance. Assisting him was Hollie Heavens. Together, Hall and Heavens brought the play to Selsdon Hall with a blend of respect for the original text and a willingness to lean into its more humorous, farcical moments. This balance between mystery and comedy can be challenging to achieve, but the directorial team approached it with confidence and clarity.
Leading the cast was Carys Surbey as Clarissa Hailsham-Brown, a housewife with a remarkably vivid imagination and a personality that bounces between playful innocence and subtle mischief. Surbey was, without a doubt, an ideal choice for this role. She brought a sweetness and charm that made Clarissa instantly likeable, while also grounding the character enough that her reactions to the chaotic events around her felt authentic. In her scenes with Reuben Tyler-Wilkinson, who played her husband Henry Hailsham-Brown, Surbey’s performance gained even more nuance. The dynamic between the two characters revealed a marriage with noticeable imbalances. Henry often appearing dismissive or preoccupied, while Clarissa sought approval and understanding. Their interactions added an underlying tension that sharpened the stakes of the plot and offered insight into Clarissa’s motivations.
The plot starts with a slow build, there’s a touch too much scene-setting and character introduction before we really grasp who everyone is or how they relate to one another (My apologies to any hard-core Agatha Christie fans who may disagree.) The moment the central murder occurs (or rather, the “death of the director,” as the victim is played by Hall), the energy shifts dramatically. The performance transforms from a gentle and conversational piece into a lively, almost chaotic web of humour, deception, and unexpected twists. The comedy truly begins to surface, especially with the re-entrance of Miss Peake, played with fantastic flair by Alison Lee. Her commentary on the unfolding events added layers of wit and lightness, and her timing complemented the building tension perfectly. The climax of the first act is complete with the corpse tumbling out of a door, this builds the audience up with excitement for the anticipated chaos of the second act.
Having both performed in and watched several CODA productions over the years, I was pleasantly surprised by the scale and detail of the set. It was far larger and more elaborate than I had anticipated, but it suited the stage beautifully. The set design successfully evoked the feel of a 1950s home (not that I was alive then!). The highlight, of course, was the incorporation of the concealed passageway, an essential feature in Christie’s play. Since nearly all the action takes place in a single room, aside from the occasional front-door conversation heard offstage, the set’s design is crucial, and this one served the story impeccably. For amateur dramatics groups working within modest budgets, “Spider’s Web” remains an excellent choice precisely because of this contained setting. Lighting was kept simple and functional, with only a handful of changes throughout, subtle but effective enough to guide the audience through shifts in mood and time.
Zoe Aina brings a thoughtful, engaging presence to the role of Pippa Hailsham-Brown, Clarissa’s stepdaughter. Playing the sole teenager among a cast of adults is no small task, yet Aina delivers the role with confidence and charm.
Another highlight was the chemistry between Surbey and David Mestecky, who played Sir Rowland Delahaye. Their scenes together were consistently engaging, filled with a natural back-and-forth that suggested a long, comfortable friendship between their characters. Mestecky’s rapport with Surbey played an important role in grounding Clarissa’s emotional world within the story.
Will Brown as Inspector Lord and Dotty Wass as Constable Jones balance out the comedic elements of the production with its more serious investigative undertones. Brown, in particular, brings an unassuming gravitas to his scenes, steadily teasing apart the web of lies as the mystery deepens.
As the play drew to a close, the final moments left the audience with an intriguing sense of ambiguity. Clarissa’s husband once again dismissed her version of events, brushing aside the extraordinary happenings of the evening. This decision, both in the script and the direction, invites the audience to question the truthfulness of what they witnessed. Did everything unfold exactly as presented? Or is there room for doubt? I left the theatre pondering these possibilities, and I imagine that is precisely the reaction the creative team hoped to evoke.
Earlier in the week, I attended a professional production (one that shall remain unnamed) and to my surprise, I found CODA’s “Spider’s Web” far more enjoyable. The acting felt more natural, the performances more heartfelt, and the overall experience significantly more engaging. It served as a delightful reminder that high-quality theatre does not always require a fancy stage or a hefty budget. Sometimes the most memorable evenings are found much closer to home, crafted by passionate local performers who bring dedication, creativity, and authenticity to the stage.
This production stands as a testament to the talent within local amateur dramatics and a strong encouragement to support these invaluable community groups. Great theatre is often right around the corner and this show was a perfect example of that.
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