is was is a fantastic storyteller with a inimitable knack of imagining rib-tickling eccentric characters and plots with more twist than the dance. So to hear the  is adapting a short story of his, this reviewer thought she was in for an entertaining time, despite the (quelle horreur!) director’s unskilled pseudo-radio announcer voice introducing the cast and a choir of people whom she referred to as (double quelle horreur!) “sound effects team”.
The sketch Lamb to the Slaughter opened with Mary Maloney contentedly knitting for her bun in the oven while waiting for police husband Patrick to come home from work. The atmosphere tensed upon the arrival of Patrick who moodily dodged his wife’s welcoming hug and refused all suggestions of a dinner. He finally snapped, and in so many words told her that he was leaving her, pregnant and all. Stunned, Mary still in housewife mode mechanically uttered she would make dinner. She went into the kitchen, took a leg of lamb from the freezer, returned to the living room and with a poker face struck Patrick of the head with the frozen leg of lamb. Once she had snapped out of her stupor, Mary concocted a devious plan to get away with murder.
The lead actor, Mary, was admirable, her timing and gestures consistent. Supporting actor Patrick achieved the surly and agitated look to a tee (which could not be more opposite than his bubbly, cheery personality off stage). The rest of the cast put up passable performances though there were a couple of inconsistencies. The head detective’s ineffective interpretation of her role as a coarse, gum-chewing, phlegm-spitting cop clashed with her delicate features and neat dressing. Also, the idea of using people as background music is interesting, but sadly it was underutilised and the choice of sound effects was unsuitable at times. Another flaw is the actors’ inclination to speak with an unnatural intonation. But gripe aside, praise must go out to the cast whose diligence in rehearsal was evident in their crisp execution of the sketch: not a cue missed, a line forgotten or a moment wasted.
Yes, it was enjoyable on the whole. The interpretation of Roald Dahl’s story was succinct without losing the spirit of the story. An A for effort and execution. As this reviewer said to the actor playing Patrick, “Three thumbs up, if (being the operative word) I have three thumbs.”
Dang, one future career down the drain.