Anthony Shaffer

Anthony Shaffer, the distinguished, award-winning playwright, is best known for his masterful contributions to the mystery thriller genre.
His acclaimed play, the twisting thriller, Sleuth, broke box-office records in London and New York, winning him a Tony Award for Best Play and the Edgar Award from the Mystery Writers Of America.
Shaffer also adapted Sleuth for film, which was nominated for several Academy and BAFTA awards, and went on to write several scripts for stage and screen, including Alfred Hitchcock's thriller Frenzy, the cult horror The Wicker Man, as well as adapting several Agatha Christie novels for the big screen.Throughout his career, he demonstrated a unique ability to combine clever narrative and intricate plot twists, blending humour with mystery, leaving a lasting impact on both theatre and film.

About

Early Years

Anthony Joshua Shaffer was born on 15th May 1926 in Liverpool, to parents Reka and Jack, a businessman in property and finance. Five minutes later, his twin brother, Peter was born. A younger brother, Brian, was born in 1929.

The young brothers attended the local school near Sefton Park in Liverpool and, in his memoirs, So What Did You Expect? (Picador, 2001) Shaffer reminisces about the occasion when, as children, their mother took them to see a Michael Redgrave play at the Liverpool Playhouse. This thriller for children greatly captured the young Shaffer brothers’ imagination, and became what Anthony referred to in his memoirs as a seminal event, writing: "It stimulated a taste for the thriller, the melodrama and the suspense play, which have always seemed to me to be the ideal genres for storytelling.”

Peter would also recall this visit to the theatre, looking back at the occasion fondly, saying how delightful and lovely it all was.

In 1936, the Shaffer family relocated south to Hampstead, London, where the brothers attended the preparatory school, The Hall, though this would be brief due to the onset of War. They were then evacuated first, to the south-coast, then to various locations around the country, before settling at their grandparent’s home in Blackpool. Here they would attend the local Grammar school and later King Edward VII at nearby Lytham St Annes. Around this time, they secured scholarships and returned south to enrol at St Paul’s School, which had now, due to the War, transferred to Easthampstead Park in Woking, the home of the 7th Marquis Of Downshire.

Bevin Boys

The Shaffer brothers were now set to attend Trinity College at Cambridge, but as the War was still ongoing, they were conscripted to serve as Bevin Boys.

Bevin Boys, named after Ernest Bevin, the Labour Party politician who was Minister of Labour and National Service, were young men conscripted to work in coal mines between December 1943 and March 1948. The miners had been sent to fight in the War, and coal was a vital part of keeping the railways and industry running.

After a brief period of training, Anthony and Peter were assigned to a colliery in Chislet, Kent, where Anthony laboured underground for three years while Peter worked above loading lorries; a stomach ulcer preventing him working underground, which eventually kept him bedridden for a long period of time.

Cambridge & Law

Anthony left the mines in February 1948 and worked briefly for his father's property business, before moving on to Trinity College, Cambridge, later that year. Anthony was studying Law and Peter, who had arrived at the college earlier, was studying History. During his time at Cambridge, Anthony became the editor for Granta, the university's light-hearted publication, and had a brief period working for the London Magazine, The Leader.

He then graduated from Trinity College with a Law degree around 1951 (Peter completed a BA in History and relocated to New York) and became a Barrister, practicing in divorce courts. Later, he would say he found it all rather dull "and was surrounded by young men trying to be old men." After some confusion over a case, which included a remarkable coincidence in a divorce hearing, Shaffer left his role as a Barrister and would turn to a career in advertising.

Mr. Verity

Around this time, Shaffer had met and married, Henrietta Glaskie and began collaborating with Peter on writing a trilogy of murder-mystery novels. The first, The Woman In The Wardrobe, was a light-hearted detective story featuring their own detective, Mr. Verity. This poised and self-assured figure, and a collector of antiques, would solve murder cases by using questionable ethics and tactics, often upsetting the police as well as the suspects.

Shaffer would write about these novels in So What Did Your Expect? recalling: “An unusual kind of partnership, where I supplied the basic plots and Peter and I took turns writing alternate chapters.”

Peter would also confirm this collaboration process: “The first one was solely written by me, and then Tony, who was utterly captivated by crime and detective narratives, as evident particularly in Sleuth, collaborated with me, and he tended to take on more of the plotting in the other two, not entirely, but a significant amount while I did the writing, not entirely but a large part. And that’s how they got completed.”

The Woman In The Wardrobe was printed in the UK in 1951 by Evans Brothers under the pseudonym Peter Antony, and later by the British Library in 2020, the author as Peter Shaffer.

Other books would soon follow including How Doth The Little Crocodile? (Evans Brothers, 1952) and Withered Murder (Gollancz, 1955.) These first editions are illustrated by the cartoonist, Nicolas Bentley.

All three titles would see publication in the US shortly after, featuring new cover artwork, new author credits and a new name for Mr. Verity, who now appears as Mr. Fathom.

As these books have never been reprinted, apart from the more recent edition of The Woman In The Wardrobe, they have become quite collectable.

London Mystery Magazine

During this period, Anthony and Peter began writing strories and articles for the London Mystery Magazine, a quarterly publication for the connoisseurs of murder mysteries, thrillers and crime stories. This long running magazine was one of several titles which came from the publishing house run by Norman Kark.

One of their stories, Before and After (issue 16, February 1953,) sees their detective Mr. Verity solving another case of murder which is extended to the next issue, number 17, published in September 1953.

Issue 17 also includes an article written by Anthony called The Cold-Blooded Tigress Of London, the true story of Catherine Hayes who was burnt at the stake in 1726 for the murder of her husband, John Hayes. He also penned the story Larger Than Life, which appears in issue 18, December 1953. This short story tells of a police inspector returning to his former childhood home to investigate the disappearance of a woman living at the address, only to be met by her nervous and suspicious husband; a theme which would occur in some of Shaffer's later works. In issue 20, August 1954, Peter's story Suffer A Witch, a tale of an old lady convinced there are witches in her family, was printed.
Shaffer would go on to become the magazine's resident book reviewer, writing for a column called “Crooks In Books.” He would review a variety of titles by different authors, sometimes as many as twenty books an issue, often with genuine praise and recommendation, or witty and humorous put downs. These reviews highlight how well-read Shaffer was of murder mysteries and thrillers, and no doubt would contribute to his interest in the subject of the mystery thriller.

Television Advertising

In the mid-1950s, Shaffer had left his career in Law and secured a position with the advertising agency Pearl and Dean, writing and producing various commercials for television and film. He then moved on to the Film Producer's Guild and then transitioned to Television Advertising. This work on commercials instilled discipline in Shaffer's writing, teaching him how to craft and edit stories concisely.

While producing commercials with Television Advertising in New York, he met Robin Hardy, who was also involved in making commercials. They set up their own advertising agency, Hardy, Shaffer & Associates, and based themselves in London, with offices in New York, Frankfurt and Paris.

Shaffer was now married to the model Carolyn Soley, and they would have two daughters, Claudia and Cressida.

Peter Shaffer

While Anthony was crafting innovative, award-winning commercials, Peter was already establishing his own writing career. His first work, The Salt Land, was produced by ITV in November 1955 and other works for radio, television and theatre quickly followed. These include The Prodigal Father, Balance of Terror and his play Five Finger Exercise, which was presented in New York and won the New York Critics Drama Award.
Other works, such as his one-act plays, The Private Ear and The Public Eye, often presented with the brilliantly crafted Black Comedy, were well received by audiences and critics alike. Succcess also followed with The Royal Hunt Of The Sun, (play and film version), and The Battle Of Shrivings (also known as Shrivings.) Peter also wrote the comical play Lettice And Lovage especially for actress, Maggie Smith.
The multi-award winning Equus is still a production favourite today, and Peter's film adaption of his play, Amadeus, broke box office figures and was nominated for eleven Academy Awards, winning eight of them .

Peter had also been encouraging Anthony to leave the advertising world and focus on writing, knowing Anthony’s love of the theatre and the mystery-thriller genre in particular, was his passion and what he could do best.

Early Works

On 17th March 1963, Anthony saw his first play, The Savage Parade, staged by the Repertory Players at The Globe Theatre, London. This play, a drama about the Eichmann trials, played for one night to mixed reviews, notably due to the subject matter. The Savage Parade would play again a few years later, when it was presented for five nights by the Lyceum Theatre, Crewe, in November 1966. This production by the resident repertory players received excellent notices and reviews in the local press.

This tense, poignant, thriller would later be revised and performed at the Kings Head Theatre Club, London in September 1987 as This Savage Parade.

In early 1969, Harlech Television (HTV) aired a half-hour television drama called Pig In The Middle, Shaffer’s first work for TV. Little is known about this drama, except it was part of a series HTV had put together to showcase writers and actors. It was repeated twice that year and was chosen as a highlight of the day by the newspaper TV listings.

During 1969, Shaffer met with PGL, an American advertising agency fronted by Al Viola and Henry Trettin, who were looking to produce their first feature film. This led to Shaffer adapting Forbush And The Penguins, a novel by Graham Billings, a writer and journalist from New Zealand, who was the former information officer for the New Zealand Antarctic Research Programme.

However, the film, Mr Forbush And The Penguins, ran into problems during production, with newly appointed producers bringing in a new director, Roy Boulting, who insisted on script revisions, cast changes and ordered re-shoots of major scenes, despite most of the film already being shot; this delaying the release of the film by almost a year. The end result was vastly different from what was originally conceived, and was met with mixed reviews when it was released at the end of 1971.

Sleuth

Shaffer had by now left the advertising agency Hardy, Shaffer & Associates to write full time, and was already working on his next play, a clever, twisting, thriller he would later call in his memoirs: "The Main Event.” This play was Sleuth.

Sleuth opened on the 12th January 1970 at the Theatre Royal, Brighton before transferring to London’s West End where it stayed for five years, playing 2,359 performances to rave reviews. It soon transferred to Broadway in New York where it remained for three years. Sleuth would also tour both the UK and US, and would see several major revivals over the next 30 years.
The famed critic, Clive Barnes, wrote in the New York Times that Sleuth was "A super show - the best of its genre since Dial M For Murder, and much cleverer."
A feature film of Sleuth, adapted by Shaffer and directed by Joseph L. Mankiewicz, would quickly follow, with memorable performances by Laurence Olivier and Michael Caine. The film was nominated for several Academy and BAFTA awards and Shaffer won a Tony Award for Best Play at the Antoinette Perry Awards in March 1971 and, a month later, received the Edgar Award from the Mystery Writers Of America.

Film

In January 1971, Alfred Hitchcock was planning his next film, Frenzy, a dark, twisting thriller about a neck-tie serial killer going about London. Hitchcock had read the novel Goodbye Piccadilly, Farewell Leicester Square by Arthur La Bern and invited Shaffer to write the script for it. Soon, the production, starring Jon Finch, Barry Foster and Anna Massey, was underway, filming around London’s Covent Garden as its main setting.

While Frenzy was being released in cinemas, and Sleuth, with its film in production and the play continuing to break box-office records, Shaffer was now working with Robin Hardy again, this time on The Wicker Man.

Shot on the west coast of Scotland during October and November 1972, The Wicker Man is the story of pious policeman, Sergeant Neil Howie, looking for a missing girl on a remote Scottish island. The film, starring Edward Woodward, Christopher Lee, Ingrid Pitt and Britt Ekland, was initially dismissed by its production company, and was cut considerably to be placed as a ‘B Movie’ alongside Nic Roeg’s thriller Don’t Look Now.

The troubled production history of The Wicker Man, with searches for missing footage, numerous alternate versions, and the subject of remakes, has become as intriguing as the film itself, and well documented in books and documentaries. Despite all this, the film is now regarded by many as a cult classic of British horror.

Shaffer also met his third wife, the actress Diane Cilento, during the filming of The Wicker Man, and they would later marry and set up home in North Queensland, Australia.

In the spring of 1978, Shaffer’s film, Absolution, began filming in Shropshire and Pinewood Studios. Based on an early, unproduced play by Shaffer, a thriller called Play With A Gypsy, this new adaption starred Richard Burton, Dominic Guard, Dai Bradley and an early role by comedian, Billy Connolly. Richard Burton had appeared a year earlier in the stage and film version of Peter Shaffer's Equus, as the troubled psychiatrist, Dr Martin Dysart, a role he swaps here for a troubled priest. Problems with distribution resulted in a delayed release, with Absolution making a brief appearance in the UK in November 1981, though wasn't released in the US until 1988, under the title Murder By Confession.

In 1993, Shaffer worked alongside writer Nicholas Meyer, creating the story for the film Sommersby, a project being driven by Richard Gere, who was enthusiastic about the film and was involved in getting it made. He would also take the lead role, playing opposite Jodie Foster. Sommersby, the historic tale of a man going off to war and returning home as someone else, is based on the French film Le Retour de Martin Guerre (1982), starring Gerard Depardieu.

Agatha Christie

Writing in So What Did You Expect?, Shaffer recounts meeting Agatha Christie and accompanying her to the theatre to watch Sleuth, unaware at the time that he would later go on to adapt some of her classic works.After working uncredited on Sydney Lumet's film adaptation of Agatha Christie's Murder On The Orient Express (1974), producers John Brabourne and Richard Goodwin invited Shaffer to adapt future Christie projects they had in mind, notably Death On The Nile and Evil Under The Sun.

Shaffer revised the classic novels into a format that would work for the big screen and the first, Death On The Nile, was released in 1978 to much acclaim. Evil Under The Sun followed in 1982. A third film, Appointment With Death, was released in 1988 by a different production company, though it originated from a script Shaffer had completed ten years earlier. All these films were glamorous, star-studded affairs, shot in exotic locations, starring Peter Ustinov as the Belgian detective, Hercule Poirot.

Theatre

Prior to this, Shaffer had premiered his new comedy-thriller, Murderer, at Brighton's Theatre Royal in February 1975, before it transferred to London's Garrick Theatre a month later. This production, starring Robert Stephens and Patricia Quinn, would be the first Shaffer play to play at the West End since Sleuth, which had now made way from the Garrick to the Fortune Theatre.Following this was another comedy-thriller, For Years I Couldn't Wear My Black, which premiered at the Queensland Theatre Company in Brisbane, Australia, on 9th February 1977. In November that year, The Case Of The Oily Levantine, a parody of the classic Agatha Christie whodunnits, played at the Yvonne Arnaud Theatre in Guildford.

The Case Of The Oily Levantine would see a revival in 1979 with a new cast and, again in 1982 / 1983, in the US where it was billed as Whodunnit. In 1986, Whodunnit, would tour the UK with an all-star cast from British television and, a year later, For Years I Couldn’t Wear My Black, now billed as Widow’s Weeds, would also tour the UK with an all-star television cast.

The Karnak

By the end of 1977, Shaffer had joined Diane Cilento, who had returned home to Australia soon after filming The Wicker Man. Diane had moved to Mossman, North Queensland, a rural area about fifty miles from Cairns on the north-east coast. There, she had acquired land which had once been used as a farm and a sugar cane plantation. Here they nurtured and developed the land, building a home for themselves and, soon after, a retreat for writers, artists and musicians, deep in the heart of the Daintree rainforest.

As well as setting up a home there, they also built a theatre, the Karnak Playhouse, a large, amphitheatre in exotic surroundings. The Karnak Playhouse would host a variety of productions including laser-light shows set to music and narration, dance acts, musical groups, classical evenings and, of course, theatre. Shaffer and Diane married on the grounds of their home and held hospitality evenings and events, often attended by famous names, politicians, and local celebrities.

Ealing

In 1995, Shaffer took on a short-lived role of Head of Creative Development at Ealing Studios to collaborate with new writers aiming to have their scripts produced. Shaffer was engaged in the project and looking forward to working with new writers and creating new films, something which the studios needed at the time. However, it quickly came to light that people within the company had no plans to produce these films, and was only causing disappointment among the hopeful writers. This fuelled Shaffer’s ever-growing cynicism towards the film industry, particularly the executives and men in suits, who Shaffer once described as: “A whole lot of middle-aged men trying to second-guess and palliate whole generations of uneducated cretins. I think they should be ashamed."

Final Works

During the year 2000, Shaffer began working on revisions for a new play based on the short story, Eyes That Watch You by Cornell Woolrich. This psychological melodrama, The Thing In The Wheelchair, had been drafted a few years earlier and, although talks about a West End production were fruitless, Shaffer had decided it would premiere at the Karnak Playhouse. Also, that year, Shaffer had been approached by a Canadian writing and production team, with a new stage adaptation they had written of The Wicker Man. Shaffer was enthusiastic about the project and, after working with the script and talks of plans for the production, the team set out to work with parties who had shown interest in the idea.

In March 2001, Shaffer was preparing for The Thing In The Wheelchair at the Karnak, which was in rehearsals, with Diane Cilento directing. The play opened on 18th May 2001 and ran for a week until 27th May, receiving notices of high praise in the press. This would be Shaffer’s final work before his death later that year.

On the 6th of November 2001, Anthony Shaffer passed away from a heart attack in his London home, at the age of 75.

Books

The Woman In The Wardrobe

NOTE: The Woman In The Wardrobe was written by Peter Shaffer, but assisted with the plot by Anthony. This arrangement would continue with the young Shaffer brothers collaborating on two further murder mystery novels featuring their detective, Mr Verity. The Woman In The Wardrobe is included here as an important, first part of the trilogy.

All is not well in the sunny seaside town of Amnestie when Mr. Verity, out for a walk, sees a man climbing out of a window of the Charter Hotel. He stops and watches as the man moves along the balcony and climbs back in through the next window.

Puzzled, Mr. Verity calls in at the Charter Hotel and speaks to the manageress to report what he's just seen. As he's talking to her, a man hurries down the stairs calling out for help and informs them one of the guests, a Mr. Maxwell, has been found dead in his room. They return to the room, only to find the door is now locked from the inside.

Mr. Verity, a noted figure in the world of detection, loud and with questionable ethics (and disliked by Scotland Yard as he's often right), soon finds himself dealing with an array of suspicious guests at the hotel, a maid bound and gagged in a wardrobe next to the body of the dead man, and the eccentric Mr. Tudor, whose wild claims and eventual disappearance only add to the mystery.

How Doth The Little Crocodile?

The US edition was reprinted as a MacMillan ‘Cock Robin Mystery’ book. How Doth The Little Crocodile? was book number 16 of the “Murder Revisited Series.”NOTE: Mr Verity is known as Mr Fathom in the US edition.Mr. Verity takes on the case of Roger Hope, a man who had stood trial for the murder of retired judge Sir Derek Livingstone. He was later acquitted due to late evidence that proved his innocence.

Roger Hope, a member of the De Quincey's Society of Connoisseurs in Murder club, wrote to the other members, informing them he knew the identity of the real murderer, which he would reveal at their next meeting. However, before this meeting took place, Roger Hope was struck by a car and killed.

Mr. Verity, himself a member of the connoisseurs' club, had also received the same letter sent to his fellow club members. He finds himself in Allsop, Sussex, investigating Roger Hope's suspicious death and his claims about the identity of Sir Derek Livingstone's real murderer.

Working his way through a variety list of suspects, Mr. Verity finds they all had motives for killing Derek Livingstone, and all had left clues in doing so. However, the truth concerning Roger Hope and his untimely death is even more puzzling, and Mr. Verity's revelations at the conclusion leave the guests of the murder club shocked and amazed.

Withered Murder

NOTE: Mr Verity is known as Mr Fathom in the US edition.Mr Verity is staying at the Barnacle Hotel at Crab Point, a small island off the Cornish coast. He is there to visit Captain Trelawney, who has two primitive terra-cotta statues from Corinth, which he would be interested in acquiring.

During his stay at the hotel, Mr Verity senses tension among some of the other guests and learns there has been a troubled history between them.

He observes them over dinner one evening and regards each of them carefully: the proprietress; the retired actress; the secretary; the ex-husband and a failed artist; a professor; a minister and his wife; a young journalist; a solicitor and an archaeologist and ancient historian.

Returning from a visit to the theatre on the mainland to see a production of Macbeth, Mr Verity and the other guests arrive at the Barnacle Hotel to discover the lifeless body of Celia Whitely, the retired actress. It’s apparent she has been murdered in a gruesome attack.

Mr Verity takes charge and begins his investigation. He finds the old lady’s Will, and questions each of the guests and staff in turn, his suspicions and accusations upsetting them in the process. He digs deeper into their backgrounds and finds they all have a motive for the murder in some form. When he goes to question Hilary Stanton, Celia Whitely’s secretary, he finds her hanging from the ceiling. Nearby is a suicide note in which she confesses to killing Celia Whitely.

However, Mr Verity has suspicions about Hilary Stanton's death and her written confession. He gathers the guests to reveal an unexpected twist, which itself leads to another sudden, shocking death.

The Wicker Man

Robin Hardy and Anthony Shaffer's novelisation of their film was first published some five years after the film's release, and takes us much deeper into the story of Sergeant Howie's search for the missing child, Rowan Morrison. The book takes us on a detailed tour of Summerisle, revealing more about the people who live there and their religious beliefs and practices.
The pious Sergeant Howie is now younger than his screen counterpart, and we learn more about him as a person, his views on life, nature, and his work as a police officer. Again, we see things from his point of view as events on the island begin to unfold.
Some of the missing scenes and dialogue from Shaffer's original script have been restored, and a number of characters which are only hinted at briefly in the film are now brought to life. These characters add more insight into the ways of the community and life on the island, which was sadly missing in the film.
In the early chapters, we meet Mary Bannock, Sergeant Howie's fiancée, who originally appears briefly in a non-speaking role. She is now an important part of the story as we learn about her relationship with Sergeant Howie and the things that are important to them both. She is also the subject of reflection while Sergeant Howie is away on the island.
Other characters who were unknown to us before include the gillie with her horse and cart who takes Sergeant Howie to visit Lord Summerisle. We also encounter her brother Beech, a sad, lonely figure who lives a remote life in the woods, believing he's a king, guarding a sacred grove. The gillie visits him with food each day, believing in Lord Summerisle's word that her brother can be cured.
The novelisation reads like a restoration of the film with all the extra pieces fitting neatly together, a film we are now unlikely to see.

Absolution

The novelisation of Absolution was released as a tie-in for the film, which had been shot a year earlier but was still awaiting distribution for general release. Shaffer's book reveals more of the inner conflicts of the Catholic religion, and we witness the torment and despair this brings among the three main characters: Father Goddard, Benji, and Arthur. The book also contains some major differences from the film, with new scenes and dialogue, some new faces, and a completely different ending unique to the novel.

We learn that Father Goddard had once worked as a missionary in Africa when he was younger, and that Benji's father had left his mother when Benji was a child. Father Goddard becomes a more paternal figure to him here, which causes some hostility with the other boys. However, Father Goddard retains his cold, hard manner, particularly towards Arthur, as he does in the original script and film.

The novel reveals more about Benji's friendship with Blakey, the traveling biker who has camped in a nearby wood. This friendship grew after Benji found Blakey stealing food from the school kitchen. Initially, Benji chases after him across the school grounds where they have a scuffle, but Benji lets him go. Later, sitting around the campfire, Blakey talks of his past and how he became a traveller, all of which intrigues the young student. The book also retains a scene from Shaffer's script where the boys in Benji's dorm warn him about seeing Blakey, as he might bring trouble for them all - a warning Benji ignores.

Other differences include a scene where Father Goddard talks to his class about confession, which now takes place at the breakfast table instead of in the classroom. He also takes his pupils to the chapel to visit the confessional to familiarise them with it. The lesson with the boys translating the texts of "Caesar's Gallic Wars" is much longer in the book. First, Father Goddard humiliates Arthur for not being able to translate a simple text, and then he is infuriated by Benji for translating the text in modern-day slang. Father Goddard puts them both on detention for this. This class is also joined by the elderly deputy Father Rivers, who sits in with the boys to see how they are progressing. This part of the book then goes into the scene from the film where Arthur talks about siege ramps and is bellowed at by Father Goddard for pushing for a discussion on Roman strategy.

The final chapter includes an extended scene where Arthur emerges from the shadows of the chapel, to find the tormented Father Goddard praying at the altar. An epilogue which is set some years later, brings about a new ending.

So What Did You Expect?

Anthony Shaffer's memoir offers a compelling and often humorous account of his life and career. The book takes readers on a journey of Shaffer's early beginnings of life in Liverpool with twin brother Peter, his first taste of theatre, evacuation during World War II and anecdotes about education and love of games and practical jokes.

The memoir covers Shaffer's early crime writing days with Peter, his brief foray into Law, and becoming a writer and producer in film and television advertising, before his eventual success as a playwright.

Shaffer shares anecdotes about his interactions with notable figures in the entertainment industry and relationships with producers, directors and actors, including his close collaborations with Alfred Hitchcock and Joseph L. Mankiewicz. The book provides insights into the theatre world and Shaffer's contributions, such as his role in transferring Agatha Christie's The Mousetrap to its long-standing theatre location.

So What Did You Expect? showcases Shaffer's wit and storytelling abilities, making it an engaging read for those interested in the life of this celebrated playwright and offers a glimpse into a bygone era of British theatre and serves as a work of social and personal history.

Stage Plays

Sleuth

Andrew Wyke, a best-selling author of detective fiction, invites Milo Tindle to his lavish manor. We discover that Milo has been having an affair with Andrew’s wife, Marguerite.

As they discuss Milo's plans to marry Marguerite, Andrew reveals his indifference toward their marriage and is more than happy to let her go as their marriage is not a loving one and, Andrew himself has a mistress, a younger woman called Tia.

Knowing that Milo won’t be able to afford to keep Marguerite in the lifestyle she has been accustomed, he proposes a scheme: Milo should steal a collection of valuable jewellery intended for Marguerite, sell it, and use the money to support her. He tells him that he should steal the jewellery that night while Marguerite is away, sell it on to a fence (one known and arranged by Andrew) and live with Marguerite happily ever after, while Andrew claims on the insurance and settles down with Tia.

To avoid leaving clues, Andrew has Milo disguised as a clown and instructs him on breaking in through a window, ransacking the house and blowing up the safe where the jewels are kept. However, Andrew reveals a darker motive - he threatens Milo with a gun, revealing that the robbery had been set up to frame him as a burglar and is about to kill him in cold blood. Milo, realising he has no way out or means of escape, begs for his life.

Later, Inspector Doppler arrives to investigate Milo's disappearance. Andrew insists he hasn't seen Milo recently, but evidence points to foul play. The detective finds a bullet hole in the wall, blood on the stair carpet, and a mound of freshly dug earth laid in a flower bed in the garden.

The twist unfolds as a game of revenge takes shape through mind games and deception, culminating in a thrilling battle of wits and survival.

1970 - 1975

Shaffer's thriller opened on the 12th January 1970 at the Theatre Royal, Brighton before transferring to the following London venues: St Martins (12th February 1970) Garrick Theatre (March 1973) and the Fortune Theatre (October 1975.) This five year run played for 2,359 performances to rave reviews, citing Sleuth as rewriting the modern day thriller, with its ingenius plot, unexpected twists and dark humour.

“A clever and enjoyable piece full of energy, sophistication and brilliant humour.” – The London Theatre Guide.During this time, Shaffer won a Tony Award for Best Play at the Antoinette Perry Awards, held at The Palace Theatre, New York on 28th March 1971 and a month later received the Edgar Award on 29th April 1971 from the Mystery Writers Of America.

Cast:

Director: Clifford Williams
Design: Carl Toms

Other names who took roles during this five year run in London include: Paul Rogers, Donal Donnelly, Marius Goring, John Fraser, Anthony Valentine, Michael Allinson, Del Henney, Raymond Westwell, Christopher Reich, Gary Waldhorn and David Bradley.
The play also saw a number of revivals over the years, many touring the UK with established and household names such as Nigel Davenport, Tony Anholt, Donald Pickering, Mark Arden, Peter Bowles, Michael Maloney, Ian Ogilvy, Simon MacCorkindale, Michael Praed and more recently, Todd Bryce and Neil McDermott.

Broadway & Elsewhere

The growing success of Sleuth at the West End meant a transfer to New York's Broadway was inevitable and, on the 12th November 1970, Sleuth opened at the Music Box Theatre where it ran for 1,222 performances for three years before closing on 13th October 1973.

On the 5th April 1973, the New York Times reported that Sleuth had reached 1,000 performances at the Music Box theatre the night before, making it the longest running show on Broadway at that time. It added that the only other play to reach 1,000 performances in London and Broadway was Joseph Kesselring's Arsenic And Old Lace.

“Clever, intricate…It is good, neat, clean and bloody fun.” – The New York Times.

Again, Anthony Quayle and Keith Baxter took the lead roles, and were replaced over time by Paul Rogers, George Rose, Brian Murray, Patrick Macnee, Donal Donnelly, Jordan Christopher and Curt Dawson.

Of these, Patrick Macnee would remain with the production the longest, playing the part of Andrew Wyke from July 1972 to the end of its run at the Music box theatre and then becoming part of the touring production which made its way around the U.S until 1975.Sleuth also became a hit around the world and continues to have an international following with productions covering Europe, Asia and Australia which play to large audiences.

Murderer

Norman Bartholomew, a painter with a dark obsession, meticulously plans and executes the murder of his subject, Millie Sykes. He strangles her, dismembers her body, and disposes of the remains in his stove, all while maintaining an eerie calm.

When Sergeant Stenning arrives to investigate a neighbour’s report, Norman engages in a psychological game, deflecting suspicion with dark humour and odd behaviour. Sergeant Stenning conducts a search of the house and finds a smouldering head in the wood burner stove. Quickly realising the head is a fake, he demands an explanation. Norman reveals his hobby of re-enacting famous murder cases, claiming it's all part of experiencing the thrill of being a murder suspect.

Norman and Millie, who we learn has been a willing victim in Noman’s game, perform disturbing theatrical scenarios in front of Sergeant Stenning, leaving him frustrated and confused. He tries, without success, to warn them of the games they are playing, and leaves the house to put the neighbour’s mind at ease.

However, we learn the game Norman had set up for Sergeant Stenning was part of his true intentions: to murder his wife, Elizabeth.

Elizabeth arrives home early to find Norman with Millie and confronts him about his affair, revealing to Millie that she knows about Norman’s role-playing and fantasies of murder, and the other women he has been seeing. Millie leaves, upset that Norman had been using her.

As tensions rise, Norman and Elizabeth engage in a dangerous game of cat and mouse, with each trying to outsmart the other. The situation escalates, and Norman attempts to carry out his murderous plan.

Just when it seems Norman has succeeded, Sergeant Stenning returns unexpectedly, and the atmosphere grows thick with suspicion as the plot rapidly moves in new directions and the characters’ true motives and actions come to light.

1975

Murderer opened at the Theatre Royal, Brighton on the 11th February 1975 before moving on to the Theatre Royal, Newcastle (24th February - 1st March) and the Lyceum Theatre, Edinburgh (3rd - 8th March) before finally transferring to the Garrick Theatre, London on 12th March, where it played until 19th July 1975.

Cast:

Director: Clifford Williams
Design: Carl Toms

1992

Shaffer wrote several versions of Murderer over the years, each having different scenes and endings, though the premise of Norman planning to kill his wife remains in each. He also wrote a new version which was presented at the Karnak Playhouse Theatre in the grounds of Karnak, the home he shared with Diane Cilento in North Queensland, Australia. This production was part of the opening ceremony of the Karnak Playhouse on the 9th August 1992, though the actual opening was on the previous night, itself a glamorous occasion with music, dancers and other live performance. Murderer was a special presentation for the invited audience and had been adapted for the occasion.

The play ran from the 9th August - 6th September 1992.

Cast:

Director: Diane Cilento
Design: James Ridewood

2004

A brief revival saw Murderer play at the Menier Chocolate Factory in Southwark, London from 10th November 2004 – 22nd January 2005, with Les Dennis taking the lead role of Norman Bartholomew.

Cast:

Director: Adam Speers

Design: Simon Scullion

The Case Of The Oily Levantine / Whodunnit?

The play opens in the lavish library of Orcas Champflower Manor, an 18th-century estate with towering bookcases. A chilling taped message from an anonymous murderer greets the audience, confessing to the crime and challenging them to uncover clues throughout the performance.

Andreas Capodistriou, a cunning blackmailer, manipulates guests at Silas Bazeby's manor during a weekend retreat. He exposes dark secrets of each guest, including Perkins the butler, Silas Bazeby, Rear Admiral Knatchbull-Folliatt, Lady Tremurrain, and Dame Edith Runcible, demanding payment for silence. Capodistriou's threats intensify as he reveals Lavinia Hargreaves's past affair with him.

As dinner approaches, tension mounts. While Capodistriou prays alone, the guests conspire. In a shocking turn, they collectively ambush him, resulting in his decapitation during a thunderstorm.

Inspector Bowden and Sergeant Standish are investigating the murder. A startling revelation emerges: Capodistriou was actually Gerry Marshall, the guests' agent who had orchestrated their stay as a murder mystery performance for Mr. Bazeby's birthday. Each guest is revealed to be an actor playing a stereotypical role.

The investigation takes another turn when Mr. Bazeby is found murdered similarly to Capodistriou, and events unfold which blur the lines between performance and reality.

1977

The Case Of The Oily Levantine was presented by the Yvonne Arnaud Theatre, Guildford from the 1st - 19th November 1977.

Cast:

Director: Val May
Design: Hayden Griffin

1979

The play went into production two years later opening at the Richmond Theatre, London from 6th - 11th August 1979, then taking in dates at Brighton, Bath, Norwich and Her Majesty's Theatre, London from 13th September - 3rd November 1979.

This production was made up of a new cast, though Gwen Nelson and Roger Leach return to their previous roles.

Cast:

Director: Patrick Dromgoole
Design: Hayden Griffin

1982 / 1983

The Case Of The Oily Levantine was, again, revised by Shaffer and opened at the Biltmore Theatre in New York on 30th December 1982 as Whodunnit where it played until 15th May 1983.

Cast:

Director: Michael Kahn
Design: Andrew Jackness

1986 / 1987

In 1986, Whodunnit? (as it was now billed) made an extensive tour of the UK with a cast of well-known faces from British television.

The tour opened at the Brewhouse Theatre, Taunton from 25th - 30th August and moved on to Glasgow, Cambridge, Brighton, Oxford, Hull, Darlington, Swindon, Birmingham, Croydon, Edinburgh, Bath, Horsham before stopping at Aberdeen where it ran from 25th – 29th November.

The play then continued to tour in the early months of 1987, taking in Dartford, Redhill, Peterborough, Poole, Eastbourne, Lincoln, Chesterfield, Ayr, Stevenage and then ending its run at the Marlowe Theatre, Canterbury (20th – 25th April)
This part of the tour retained most of the cast, who were joined by other television stars along the way, including Madge Hindle, Zeph Gladstone, Bernie Winters and Su Douglas.

Cast:

Director: Clive Hicks Jenkins

Director: Philip Grout (1987 dates)

Design: Lee Dean

Widow's Weeds / For Years I Couldn't Wear My Black

This comedy thriller begins with Mrs. Collier, visibly anxious, adjusting her makeup and fluffing cushions as a small film crew arrives to shoot a commercial for Folliclean, a new shampoo. Director Dick Richards spots a photo of her children and suggests including them in the ad, a notion that makes Mrs. Collier uncomfortable, especially since she fears the crew may still be present when her kids return from school. The crew finds her behaviour odd but continues their preparations.

After several false starts and some crew disputes, filming finally commences, interrupted by Mrs. Collier’s son, Reginald, who bursts in wearing a panther costume, startling everyone. He claims to have killed his father, while his sister Christine argues that she was the one responsible. Embarrassed yet unable to intervene, Mrs. Collier joins in, revealing her complicity in their father's demise.

As the crew debates whether to notify the police, Mrs. Collier convinces them it’s merely a game. Mr. Younghusband, the shampoo company's owner, arrives and insists on featuring Mrs. Collier and her children in the commercial, believing families sell well on screen. Despite Dick and Philip's reservations about the family’s background, they agree to Mr. Younghusband's vision for the ad.

When Mr. Collier unexpectedly returns home early from a business trip, he is initially displeased with the filming but reluctantly agrees to participate for payment. The crew quickly films him alongside Mrs. Collier and the children before packing up.

Once alone, Mr. Collier reveals his harsh demeanour as he berates his children and takes Mrs. Collier's share of the earnings. He imposes strict punishments on them for their supposed lies about killing him. In a shocking twist, Mrs. Collier confesses that their claims were true—Reginald and Christine had indeed killed their father.

Just as tensions rise and revelations unfold, a sudden knock at the door interrupts the charged atmosphere...

1977

In the early 1970's, the press reported a new script by Shaffer, a comedy thriller, called Widow's Weeds, had been completed and was planned to go into production. However, this didn't go ahead and, over the next few years, Shaffer worked on the script again, finding it a new home with the Queensland Theatre Company at the SGIO Theatre in Brisbane, Australia.

Widow's Weeds became For Years I Couldn't Wear My Black and ran from 9th February - 26th February 1977.

Cast:

Director: Joe MacColum
Design: James Ridewood

1987

In 1987, Gallery Productions (who had toured Shaffer's Whodunnit? the previous year,) put together another cast of famous names from British television, for a short UK tour of the play, now under it's original title, Widow's Weeds.

The play opened at the Brewhouse Theatre in August 1987 before setting off for a three month tour stopping at Guildford, Croydon, Plymouth, Harlow, Lincoln, Cambridge, Darlington, Brighton, Swindon and others.

Cast:

Director: Philip Grout
Design: Martin Sutherland

This Savage Parade

The play is set in a dimly lit wine cellar in Tel Aviv during 1962, where three judges—Aquaba, Eban, and Ophir—await the arrival of a detained suspect. They have received confirmation that the suspect has been identified as Rudolf Friedrich Bauer, a former Nazi SS officer accused of war crimes. As they express their impatience, the guard Cassellotti enters with the prisoner, De Solto, who initially pleads not guilty.
Aquaba reads the charges against De Solto, revealing his true identity and past. Despite evidence against him, including a photograph in Nazi uniform, De Solto claims he was a cattle farmer. The judges question him about his life and his involvement with Hitler's regime. After thorough questioning, De Solto surprises them by claiming to be Stefan Juvenal, their agent sent to find Bauer.
When Miguel enters, claiming to be De Solto, confusion arises as he possesses the scars identifying him as Bauer. Miguel recounts his harrowing experience as a concentration camp prisoner who was used as a decoy for Bauer. He explains how Bauer orchestrated this deception to escape capture.
As the tension builds and identities blur, a shocking revelation threatens to upend everything the judges thought they knew. The true nature of Aquaba comes into question, leaving the audience to grapple with the complexities of justice, identity, and the long-reaching consequences of war crimes.

1963

The Savage Parade, as it was originally titled, played for one night only by the Repertory Players at The Globe Theatre, London on 17th March 1963.

Cast:

Director: David Giles

1966

The play came about again in 1966 when it was produced by the resident company at the Lyceum Theatre in Crewe. Joining the repertory cast was actor Robert Russell who had began making a name at that time in theatre and film. This production ran from 1st - 5th November 1966.

Cast:

Director: Julian Oldfield

Design: Robin Edwards

1987

In 1987, the play, having undergone further rewrites, and now re-titled This Savage Parade, was presented by the King's Head Theatre Club, London.

The play ran from 1st - 6th September 1987.

Cast:

Director: Jonathan Myerson

Design: Gillian Daniell

The Thing In The Wheelchair

Set in the early 1960s, this gripping play unfolds at the home of Janet Millar, a 78-year-old woman paralysed from the neck down. Janet communicates only by blinking, living with her daughter-in-law Stella, an actress, and her son Dennis. The story begins on a spring day, with Stella rehearsing lines from Macbeth while Janet observes from the patio.

As the plot unfolds, a sinister plan emerges. Stella and her lover, Rodney Haggard, conspire to murder Dennis for his life insurance money, planning to stage a gas leak accident. Their scheme is complicated by Janet's presence and the arrival of Rosie, a young neighbor who begins to uncover the truth.

The narrative explores themes of betrayal, manipulation, and power struggles within the family. Stella's facade of care crumbles as she cruelly mocks Janet's helplessness, while Dennis remains oblivious to the danger surrounding him. Tension builds as Stella's erratic behavior intensifies, and she considers eliminating Janet as well.

The arrival of Sergeant Savage causes tension with Stella and Rodney, as he investigates the truth about Dennis' murder, making a discovery that leads to a tense confrontation.

The Thing In The Wheelchair is a melodrama, freely adapted from the short story, Eyes That Watch You by Cornell Woolrich.

Shaffer had worked on the idea for a number of years before completing the script which was then produced at the Karnak Playhouse in the grounds of his Australian home. The play ran from the 18th - 27th May 2001 and would be his final piece of work before his death later that year.

Cast:

With: Howard Turner and Russell Wicks

Director: Diane Cilento

Design: Robert Kemp

Screenplays

Pig In The Middle

This little known TV drama was first aired by Harlech (HTV) in April 1969 and repeated in August later that year. It had been part of a drama series of half hour episodes HTV had created to showcase different writers and actors.
A game of forfeits is harmless enough, but like many games it can get out of hand.
Set in a cosy, country home when an after-dinner game of forfeits takes a sudden and disconcerting turn. It lays bare emotional rifts and destroys one man’s carefully nurtured world of fantasy.

Mr Forbush And The Penguins

Richard Forbush, a wealthy, carefree and self-absorbed biology student, meets Tara St. John Luke at a cafe-bar. Despite his attempts to charm her, Tara rebuffs his advances. Undeterred, Forbush offers her a ride home, but his miscalculation leads to Tara angrily tossing his car keys from the car, and storming off.

Witnessing this, a policeman intervenes, citing Forbush for illegal parking and conducting a breathalyser test, which he fails. After his release from the local police station, Forbush's tutor, Professor George Dewport, encourages him to attend a lecture on Antarctica. At the lecture, Forbush tries to impress Tara by claiming he'll study crocodiles abroad, only to be caught off guard when his friend Starshot reveals he's heading to Antarctica for research.

Reflecting on his choices, Forbush accepts a job studying Adélie penguins in Antarctica, recommended by Professor Dewport. His parents show little interest in his decision, marking a pivotal moment in Forbush's journey toward self-discovery.

Motivated by his feelings for Tara, Forbush embarks on a six-month Antarctic expedition. At Shackleton's Hut, he finds himself isolated with only a radio and tape recorder to communicate. As winter sets in, Forbush becomes attached to the penguins, observing their struggles against predators like skuas.

During a blizzard, Forbush reflects on the interconnectedness of life and the balance of nature. He learns that even predators play a crucial role in the ecosystem. As he records his experiences for Tara, he begins to understand deeper lessons about survival and coexistence.

Tara, listening to the tapes, begins to realise that Forbush is revealing a caring, sensitive side of himself and is not the person he made himself out to be.

Forbush's transformation culminates in the realisation that all living beings depend on one another, challenging his previous worldview. As he prepares to leave Antarctica and return to Tara, he wonders whether their relationship will endure the changes he has undergone.

Frenzy

The film opens with a view of the county hall building, along the River Thames in London, where a politician is giving an optimistic speech to a crowd about the River Thames' future cleanliness. During this speech, the body of a naked woman, a victim of the "necktie murderer," washes up on the shore.

Richard Blaney is fired from his bartending job for allegedly stealing alcohol, despite his girlfriend Babs Milligan's attempts to defend him. Blaney goes to see his friend Bob Rusk, a market trader in Covent Garden. Rusk is sympathetic and offers him money, which Blaney declines, and a good betting tip on a horse for a race that day.

Later, Blaney visits his ex-wife Brenda at her marriage bureau. Despite his agitation over her success, she sympathetically offers to take him to dinner. Their conversation reveals Blaney’s life struggles and how unlucky he’s been with numerous ventures.

Although Blaney sees Brenda safely home, we see him sleeping in a Salvation Army hostel, where another man in the next bed tries to steal money from his coat pocket; money Blaney didn't know was there, which had evidently been placed by Brenda.

The next day, Bob Rusk visits Brenda's office, and we learn he is a client of the bureau, using a different name. He makes insinuations towards her and, after she rejects his advances, he rapes and murders her.

Due to circumstantial evidence, the police suspect Blaney, and he goes on the run with Babs, who, though suspicious at first, supports him. They find cover with Johnny Porter and his wife, an old RAF friend of Blaney's, who are staying at the Hilton Hotel. However, he is awakened the next morning to learn from the morning newspapers that Babs has been killed by the neck-tie murderer. His friends refuse to help him, fearing they would be regarded as accomplices by the police, which would affect their plans to run a business in France.

Blaney turns to Rusk for help, but things take a dramatic twist as Blaney sets out to prove his innocence.

Sleuth

Adapted by Shaffer himself, the film follows the play faithfully with only a few, minor differences. The film also makes use of the technical advantages, making toy props appear to come to life as if they too are characters in the film.
The scenes of Andrew Wyke's manor house were filmed at Athelhampton House, Dorchester, as were the gardens containing the labyrinth for the opening scene. The stunning interiors, designed by Ken Adam, were filmed at Pinewood Studios.
For more details regarding the plot, see the Sleuth stage play entry.

The Wicker Man

The film follows Sergeant Neil Howie, a devout Christian police officer, who travels to Summerisle, a remote island off the west coast of Scotland. He has received an anonymous letter from the island about the disappearance of a young girl, Rowan Morrison. Upon arrival, Sergeant Howie finds the locals uncooperative and dismissive, claiming not to know Rowan or her whereabouts.

As he investigates, Sergeant Howie encounters strange customs and pagan rituals among the islanders, who seem to openly celebrate fertility and have abandoned traditional Christian practices. Despite his efforts to gather information, he is met with resistance and confusion.
Having found Rowan’s unmarked grave, Sergeant Howie visits Lord Summerisle for permission to have her body exhumed for a pathologist’s report. Here, he learns from Lord Summerisle about the history of the island and why their beliefs in the old Gods and appeasing them is an important way of life on the island. Summerisle is known for its fruit production, particularly apples, and appeasing the Gods results in a bountiful harvest.
The investigation takes a dark turn as Sergeant Howie delves deeper into the island's secrets, uncovering disturbing truths about their beliefs and practices. As the May Day festivities approach, tension builds, and Sergeant Howie realises that his quest for answers may have led him into a dangerous trap.

Murder On The Orient Express

Set in December 1935, the story unfolds aboard the opulent Orient Express, which becomes stranded in Yugoslavia due to heavy snowfall.

The journey begins with Hercule Poirot reluctantly boarding the train, where he encounters a diverse array of passengers. Among them is Samuel Ratchett, a wealthy American businessman who, fearing for his life, attempts to hire Poirot as his bodyguard. Poirot, however, declines the offer.

The plot thickens when Ratchett is found brutally murdered in his compartment, having been stabbed twelve times. As Poirot delves into the investigation, he uncovers a shocking truth: Ratchett is actually Lanfranco Cassetti, a notorious gangster connected to the kidnapping and murder of young Daisy Armstrong five years prior.

As the detective meticulously interviews the passengers, he discovers that many of them have intricate connections to the Armstrong case, each harbouring their own motives for wanting Cassetti dead. The investigation reveals a web of secrets and lies, challenging Poirot's understanding of justice and morality.

As the story unfolds, Poirot finds himself grappling with a moral dilemma that goes beyond the simple identification of a murderer. The detective must confront his own beliefs about justice and retribution, leading to a conclusion that leaves audiences pondering the complexities of human nature and the true meaning of justice.

Death On The Nile

Jacqueline de Bellefort introduces her fiancé, Simon, to the wealthy Linnet Ridgeway in the hope of gaining employment for him. Linnet meets Simon, and they quickly fall in love, leading to their marriage. They honeymoon in Egypt, where they encounter a bitter Jacqueline, who has been following them and threatens to continue to harass them wherever they go. Hercule Poirot, who is on vacation, observes these interactions.
The newlyweds embark on a Nile cruise aboard the paddle ship the Karnak and are joined by various guests including Poirot and his friend, Colonel Race.
The other passengers include Mrs. Van Schuyler, who shows interest in Linnet's pearls, while Miss Bowers discloses a past grievance against Linnet's family. It becomes apparent that Linnet and the author, Salome Otterbourne, have a legal dispute over personal comments in Salome's book and Louise Bouget confronts Linnet about unpaid wages, which Linnet dismisses.
Linnet's guardian, Andrew Pennington, attempts to have Linnet sign legal papers without reading them, raising suspicion.

Colonel Race privately informs Poirot that he's investigating Andrew Pennington for potential embezzlement of Linnet's inheritance.
Tensions rise and the plot takes a sinister twist as the other passengers are driven by their motives to exact revenge on Linnett and, later, she is found dead in her room with a gunshot wound to the head.
Poirot and Colonel Race work on the case which leads to more deaths and a shocking conclusion.

Absolution

The film begins with Blakey, a travelling biker, arriving at St. Anthony's School in search of work. However, Father Goddard, the school's authority figure, dismisses him, clearly uncomfortable with his presence.
Father Goddard attends a rehearsal for a school production of Patience and watches in distaste as it becomes apparent that he does not like Arthur Dyson, one of the pupils in the play.
The arrival of Blakey, introduces an element of rebellion that captivates Benjie who forms a bond with him, engaging in activities that represent freedom from the school's oppressive atmosphere. He spends his free time with Blakey, fishing and drinking whisky into the late hours by the camp fire.

Father Goodard speaks to Benjie about his new friendship and asks him to promise to not see Blakey again. Reluctantly, Benjie makes his promise.
Later, we see Benjie at a picnic with Blakey and, Louella, another traveller and tells them about the promise he made to Father Goddard. Blakey and Louella make fun of the situation and suggest he tells Father Goddard about having wild orgies in the woods; Blakey tells him to say it in confession, pointing out that the priest can’t do anything about it.
Benjie confesses to Father Goddard about taking part in acts of a sexual nature with Blakey and his girlfriend, disgusting the priest and who has Blakey removed by the police. Benjie goes to see Blakey, only to find him hurt and the camp in disarray. An argument between them ensues, and becomes violent.
The narrative takes a dark turn when Benjie confesses to Father Goddard about killing Blakey and burying him in the woods. Bound by the seal of confession, Father Goddard investigates, leading to a series of deceptions and manipulations orchestrated by Benjie and Arthur, who has offered to help Benjie.
Tension grows as Benjie continues to make confessions of wanting to commit murder, sending Father Goddard into a state of torment and helplessness, until only he himself can put an end to it.

Rough Cut

In the glittering world of London's high society, Jack Rhodes, a wealthy American with a penchant for jewel theft, finds himself captivated by the enigmatic Gillian Bromley at a lavish soirée. Their instant connection, fuelled by a shared passion for the criminal arts, quickly blossoms into a romantic entanglement.

Unbeknownst to Jack, Gillian is caught in a web of deception orchestrated by Chief Inspector Cyril Willis of Scotland Yard. The seasoned detective, on the brink of retirement, is determined to make Jack his final catch. Using Gillian as his unwitting pawn, Willis sets a trap involving a shipment of uncut diamonds bound for Antwerp.

Despite sensing the ruse, Jack's competitive spirit and attraction to Gillian compel him to pursue the heist. He meticulously assembles a team of skilled criminals, each with their own unique talents. In a surprising turn, Jack chooses Gillian as his getaway driver, replacing his initial choice at the last moment.

The heist unfolds with clockwork precision, culminating in a heart-pounding chase through the streets of London. Jack and Gillian, flush with adrenaline and the thrill of success, make their escape with the diamond shipment in tow. However, their elation is short-lived as they discover the stolen goods are nothing more than worthless quartz – a clever switch orchestrated by the cunning Inspector Willis.

As Jack and Gillian celebrate their apparent victory aboard a luxurious yacht, the air is thick with unspoken truths and hidden agendas. The chemistry between them is undeniable, yet shadows of doubt linger. Just as they toast to their future, a revelation threatens to upend everything they thought they knew about each other and the heist itself.

Evil Under The Sun

The film opens with a young woman rushing into a police station to report a body found on the moors, setting in motion an investigation that remains unsolved. Detective Hercule Poirot is brought into the case when an insurance executive hires him to investigate a potentially fraudulent diamond claim.

Poirot's inquiry leads him to the south of France, where he meets Horace Blatt, the diamond's owner. Blatt's story of a spurned romance and a swapped jewel points Poirot towards a seaside hotel run by Daphne Castle, where the actress involved in the diamond affair is set to stay.

At the hotel, located on a remote Adriatic island, a cast of intriguing characters assembles. Among them are Patrick and Christine Redfern, Kenneth and Arlena Marshall, with Kenneth’s daughter Linda. Already at the hotel are Broadway theatrical producers Odell and Myra Gardener, and writer Rex Brewster, each harbouring their own secrets and tensions. Poirot observes the complex dynamics, noting particularly the flirtations of Arlena Marshall towards Patrick Redfern and the discomfort of her stepdaughter, Linda.

The idyllic setting is shattered when Arlena's body is discovered on the beach of a remote cove. She has been strangled. Poirot takes charge of the investigation, questioning each guest about their whereabouts and motives. As he unravels alibis and exposes lies, the detective pieces together a puzzling timeline of events.

Suspicion falls on various individuals: Kenneth Marshall, Arlena's husband with a motive of jealousy; Horace Blatt, seen arguing with the victim; and Rex Brewster, whose biography of Arlena provided a potential motive. Each denial and alibi only deepen the mystery.

As Poirot delves deeper, he uncovers a web of deception involving manipulated time, disguises, and hidden identities. The truth, when finally revealed, proves to be as shocking as it is ingenious, involving an elaborate plot of greed and betrayal.

Flesh+Blood

Flesh+Blood is a gritty medieval adventure set in 1501 Italy. It follows a band of mercenaries led by the charismatic Martin as they navigate a world of betrayal and survival.

The story begins when Arnolfini, a nobleman, hires the mercenaries to reclaim his city from usurpers. After a successful and violent siege, Arnolfini betrays the mercenaries, casting them out without their promised rewards. Fuelled by a desire for vengeance, Martin and his band find themselves entangled in a complex web of nobility, power, and survival.

The plot thickens when Martin's group inadvertently kidnaps Agnes, a young noblewoman betrothed to Arnolfini's son Steven. Agnes, initially a victim, begins to manipulate her captors, blurring the lines between captor and captive.
As Steven and his forces pursue the mercenaries, the conflict escalates, leading to a tense siege at a castle. The situation becomes even more perilous when it's revealed that plague has infiltrated the stronghold.
In a climactic confrontation, Martin faces off against Agnes, their complex relationship reaching a boiling point. As chaos engulfs the castle, Agnes makes a decision that will have far-reaching consequences. The film leaves viewers questioning the true nature of loyalty, love, and survival in a brutal medieval world.

Appointment With Death

Emily Boynton discovers that a second will made by her late husband would divide his estate equally among her and his stepchildren. Alarmed by the potential loss of control, she coerces the family lawyer, Jefferson Cope, into destroying the will before her children can learn of its existence, blackmailing Cope with threats of exposing his past misconduct. Reluctantly, he complies and burns the new will.

Emily organises a European holiday for her stepchildren and, as they travel, suspicions about the will's existence begin to surface among them. During their journey, Emily experiences a collapse, revealing her weak heart condition. Meanwhile, Cope secretly engages in an affair with Nadine Boynton, Emily's daughter-in-law.

The family dynamics grow increasingly tense as Emily maintains her iron grip on her stepchildren, who chafe under her domineering nature. Their travels eventually lead them to board a ship bound for Jaffa. Coincidentally, the renowned detective Hercule Poirot is also a passenger on this vessel. His keen ears pick up fragments of conversations among the Boynton family, hinting at the growing animosity towards Emily.

The situation takes a dramatic turn when Emily is discovered dead during an archaeological dig. This shocking event prompts Poirot to suspect foul play, sensing that beneath the surface lies a tangled web of family secrets and potential motives for murder.
As the investigation unfolds, Poirot meticulously interviews various suspects, each with their own possible reasons for wanting Emily out of the picture. The detective's confidence in solving the case within two days stems from his belief that people tend to reveal truths when they talk.

The plot thickens when a potential witness, Hassan, is found dead after attempting to meet with Poirot. This leads to a series of events that culminate in a tense gathering where Poirot assembles all the suspects for tea, ostensibly to discuss the case and reveal the truth.

Sommersby

Jack Sommersby returns to his farm in Vine Hill, Tennessee, after six years of fighting in the Civil War. His wife, Laurel, and their son, Robbie, are surprised and happy to see him, but their reunion is complicated by Laurel's budding relationship with Orin Meacham, a neighbour who helped manage the farm during Jack's absence.
As Jack settles back into life, he proposes a new tobacco farming venture to the townsfolk, offering them land and resources. However, suspicions arise about his true identity when it becomes apparent that he has changed significantly during the war.
The story takes an intriguing turn when Jack visits town to get new shoes fitted, only to discover his feet have shrunk two sizes. He humorously attributes this to being drunk when he made the shoe template. Later, Jack gathers the townsfolk and proposes they grow tobacco, offering them land, tools, and fertilizer while allowing them to keep half the crop. Initially met with scepticism due to his lack of funds, the townsfolk are persuaded when Laurel offers to sell her grandmother's brooch to help finance the venture.
As the community begins to work together on this new endeavour, tensions escalate. Jack stands against racism and fights for the rights of black farmers in the community, which leads to confrontations with the Ku Klux Klan. The townspeople and Laurel grapple with whether he is truly Jack or an impostor named Horace Townsend.
Laurel finds herself torn between her growing love for this new Jack and her suspicions about his true identity.

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