Once again I've been left feeling a little bit ambiguous about "whodunnit", since apparently one person successfully framed himself and several other people, and it's the others who are actually the more plausible guilty parties. While there's only one ending written into the script, I feel like it could benefit from alternative ending options (much like Clue uses) since it really is left wide open for most of the final act.
I'm not convinced there's any one character I'd particularly want to play in this one, all of the women have their intreague and alterior motives and not one of them is an entirely nice person, though Mary could be fun to explore as she appears to be on the outside of most of the action (and is described as such by one of the other characters early on) and yes is the only person the murderer deems necessary to get out of the way (at least temporarily) before committing the act.
There is a certain amount of backstory provided in the entrance descriptions for one or two of the characters which doesn't really come across in the script, which could be seen as a hangover from the literary background of these plays as I've mentioned before, but it occurs that such backstory is more useful to the actor than it is relevant in so many words to the audience. It's not something I've seen done much elsewhere, but is certainly a device I'll be looking out for in future. Much like the detailed stage directions and set notes I've noted in these and other plays, at first glance they seem to narrow the creeative liscence of the director and/or actors, but it does also allow for a more consistent starting point, dictated by the author, whenever and wherever the play is performed.
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