Writing and Production
Agatha Christie began writing Black Coffee in 1929, feeling disappointed with the portrayal of Hercule Poirot in the previous year's play Alibi, and being equally dissatisfied with the motion-picture adaptations of her short story The Coming of Mr. Quin and her novel The Secret Adversary as The Passing of Mr. Quin and Die Abenteurer GmbH. According to the foreword to the current HarperCollins edition of Black Coffee in its novelised form, she finished writing the play in late 1929.
She mentions Black Coffee in her 1977 life story, Autobiography, describing it as "a conventional spy thriller ... full of cliches, it was, I think, not at all bad". Nonetheless, her literary agents had advised her to forget the play entirely and she was willing to do so until a friend connected with the theatre suggested that it might be worth producing.
Christie's autobiography claimed that the debut performance of Black Coffee took place at the Everyman Theatre in Hampstead. However, no record exists of such a staging and she was undoubtedly confusing it with the true opening production at the Embassy Theatre in Swiss Cottage (now London's Central School of Speech and Drama) on December 8, 1930. The production ran in that theatre only until December 20. On April 9, 1931 it re-opened at the St Martin's Theatre (later to be the second home of Christie's most enduring stage work The Mousetrap), where it ran until May 1 before transferring to the Wimbledon Theatre on May 4. It then went to the Little Theatre on May 11, finally closing there on June 13, 1931.
Poirot was played initially by the well-known character actor Francis L. Sullivan who became a good friend of the author. She approved of his portrayal despite the fact that physically he was far too tall for the dapper little Belgian detective. (Sullivan stood six feet, two inches in height.) Also in the premiere cast was (Sir) Donald Wolfit, playing Dr. Carelli. Wolfit would become renowned in England as an actor-manager, best remembered for his vivid interpretations of Shakespearean roles and other big-scale classical parts.
Unlike most other Christie plays, Black Coffee did not transfer to the New York stage.
Read more about this topic: Black Coffee (play)
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