Although Agatha Christie (1890-1976) is best known as a mystery novelist, she was also a dramatist of significant stature, generating a number of popular plays and at least three landmarks of the stage: the 1943 AND THEN THERE WERE NONE (also known as TEN LITTLE INDIANS); the 1952 THE MOUSETRAP, which is the longest running play in the world; and the 1953 WITNESS FOR THE PROSECUTION. These and a great number of her other plays have been widely published, often in collections of her work. 1958's THE UNEXPECTED GUEST, however, is someting of a rarity. You are unlikely to find it at your local book store or library. Although audiences liked it reasonably well at the time, it was not in the same league as her genuine stunners, and it did not have an extensive run, and it did not receive a Broadway performance.
The play is in two acts and begins with Mrs. Laura Warwick more or less standing with a gun over the body of her wheelchair-bound husband. It is a foggy night, and even as she is thus posed, stranger Michael Starkwedder, whose car has run off the road, stops for help. Murder or not, he is rather taken with Laura and rather than call the police he decides to save her from what seems certain arrest by hatching an elaborate cover-up that involves pinning the murder on an old enemy of Laura's husband. In the second act, however, Starkwedder's affection for Laura cools when he discoveres that she has been having an affair with neighbor Julian Farrar, and it suddenly seems quite possible that there may be more than one motive for murder under the roof. Laura or Julian might have done it in order to marry; Warwick's ward Jan, mentally handicapped and fascinated with violence, might have done it in order to avoid being sent to an institution; Warwick's mother might have done it, for she recognized her son as a petty monster intent upon making everyone's life as miserable as possible. But even with all these choices, when the solution comes, it is quite a surprise.
Even so, the play drags. There is a lot of talk, talk, talk, and in between the interminable conversations one has to swallow all sorts of unlikely conincidences that range from the arrival of Starkwedder to the discovery that Julian had actually been at the house earlier that evening. 1958 audiences were accustomed to leaps of faith when it came to murder mysteries, but contemporary audiences are not, and any theatre group that produces this play is likely to find its patrons doing a lot of eye-rolling. The ending may be memorable, but the THE UNEXPECTED GUEST lacks the same splash and dash as Christie's most famous plays, and it is probably best left to hardcore readers.
GFT, Amazon Reviewer