Born in Croydon, Clemens served his National Service where he was a weapons training instructor. When demobbed, he was offered a job as a private detective, but this involved moving to Leeds to take a training course – he preferred to remain at home instead. He worked his way up from messenger boy at advertising agency, to being a copywriter. In 1955 he had a thriller screenplay accepted by BBC TV.

Next he was a staff writer for the Danziger brothers, churning out dozens of ‘B grade’, half-hour television scripts, for series such as ‘Saber of London’ and ‘The Man from Interpol’. He then went on to write many of TV’s major classics, including ‘The Invisible Man’, ‘Danger Man’, ‘The Avengers’, ‘Adam Adamant Lives!’ and ‘Bergerac’. He even wrote the BBC TV sitcom, ‘My Wife Next Door’.

This timeless thriller from the Garrick Theatre Company can be seen at the Garrick Theatre, 16 Meadow Street, in Guildford. This two and a half hour play runs on Thursday, Friday and Saturday nights at 8.00 until 15^th October. There are matinées on the 2^nd and 9^th October at 2.00 pm.

It is the year 2000 in the English countryside. All of the action takes place in a remote house, belonging to Maggie Miller, which has been converted from a windmill.

The sitting room is wood-panelled. The front door leads straight into the main room. A side door goes to the outhouse. A short staircase leads up to a small balcony with two bedrooms. Keith Abbott, with the assistance of Luke Bogaers, solidly built the fine set to Fred Petersen’s design. There is a special ‘fun’ prop by Ray Egan and Guildford Potters.

    It is senior flight attendant, Maggie’s 50^th birthday. She is holding a party for this special celebration.

    When there is no reply to her knocking, Maggie’s fellow Air Hostess, Ann (Anna Head), lets herself into the house with the secreted key only to find a scribbled note saying that Maggie has gone down to the village to pick up her birthday cake. A few minutes later, busybody neighbour, Jenny Rayner (Fiona Forster) arrives. Jenny is upset about the lack of intimate interest being shown by her husband Peter (Rodney Palmer), and has called around hoping to catch him ‘en flagrante’ with Maggie.

     Local odd-job boy, young Andy Flewin (Blake Prosser), who also fancies his chances with the older woman, calls with Maggie’s present to herself.

     The front door opens and in marches Flight Captain, Terry Dexter (Ben Lowther). He is Maggie’s latest conquest. Ann confides that she intends announcing her engagement to her partner, Steve (Ben Russell), at the party – but Maggie and Steve do not turn up for the celebrations. Where could they be? Murdered?

There was a short glitch, when a surge of power knocked out the computer controlling the sound and lights. Geoff Holt and Mark Owen were magnificent in getting to system back up. This is a fault that the technicians could not foresee, but this had to be one of the fastest recoveries that I have known. Many congrats. Admiration must go to the cast who also coped with the error very well.

The red herring clues flowed fast, as the entire cast accused each other of the murder. Two particularly fine performances from Anna Head and Fiona Forster. We were kept guessing who the murderer might be, right up to the final curtain. Creepy and packed with suspense.

Talented director, Fred Petersen, is the John Farnham of the community theatre; he has had more ‘final shows’ than anyone else. Thankfully, he keeps coming back with yet another superb presentation. Fred is one of the rare breed of directors who is willing to give newcomers a chance. He also ensures that each actor fully understands the character and personality of the part they are playing.

A most enjoyable murder story, clever script, and especially well acted.

This very well produced, fast moving, two and a half hour drama from the Garrick Theatre Company, can be seen at the Garrick Theatre, 16 Meadow Street, Guildford at 8.00 pm nightly until 23^rd April. Sunday matinee is at 2.00 pm.

The season is almost sold out, booking essential.

The setting is August 1930 on Soldier Island, off the coast of Devon. The scene is a luxurious, massive sitting room (I did not know that the Garrick stage went back that far), with sliding doors leading to a rear patio overlooking the Bristol Channel – which actually rippled (clever art effect by Carol Keppler). This superb set was built by Robert Vincent, Clayton Reichert and the tasteful décor added with the skilful aid of Susan Vincent and Carol Keppler.

On the mantelpiece of the log fire are ten wooden toy soldiers, dressed in regimental scarlet jackets and busbies (made by Narelle Borbely). The sumptuous room décor carries through the soldiers’ theme of black, scarlet and white.

Smooth stage management from Colleen Bradford and Jenna McGoughan-Shaw.

        The play opens as the overbearing butler, Rogers (Graham Miles), and his pale, nervous wife, Ethel the cook (Colleen Bradford) are checking the food supplies for a private gathering. The couple were hired by Mr and Mrs Owen, a couple of weeks earlier, to clean and prepare the newly purchased, remote island house and to look after the guests.

       As there is no ferry to the island, a local fisherman, Fred Marracot (Tom Goode) transports any guests and domestic requirements to the house. Today, on his first voyage, he has brought a young schoolmistress, Vera Claythorne (Fiona Forster) and a couple of men. The first is flirtatious Phillip Lombard (Alan Shaw) a cruel mercenary, military officer who has just returned from Africa; he is accompanied by a reckless, self-centred young student, Anthony Marston (Ben Lowther).

       On his second crossing, Fred has ferries the mysterious South African, William Davis (Alan Morris), the semi-senile, war hero General MacKenzie (Les Lee) and the religious zealot, the elderly prim, Emily Brent (Kerry Goode). The last two guests to arrive are a heartless, retired judge, Sir Lawrence Wargrave (John Gwilym) and an alcoholic Harley Street medic, Dr Armstrong (Robert Vincent).

      Rogers announces that the hosts have been delayed and won’t be arriving until the following day, but that the guests should all make themselves at home in the meanwhile. However, when a cryptic recording is played to the gathering, it seems that they all have sordid pasts and because of that, each one may well die over the next 24 hours.

I must have seen this play half a dozen times over the years, but there are so many red herrings that I still have trouble recalling the killer.

Fantastic director, Susan Vincent has selected a terrific cast, who are each perfect for the rich characters that they depict. There is a good pace to the story, with the chemistry between all of the personalities being both delightful and threatening. You can watch every actor for that slight flicker of a hint as to who the killer is – without success. Top rate performances. There are numerous little details inserted by the director that make the mystery just that little bit more intricate and baffling.

The mood lighting design and powerful soundscape are the hard work of Geoff Holt. He must have had his shoes and socks off, as at times he would have required several hands to create the perfectly synchronised, dramatic and demanding, sound and lighting effects.

I thought the only person left on stage must be the guilty person – the lass working the curtains!

Audiences love a good thriller, and this is one of the VERY best, both by the playwright and this clever Garrick team bringing you terrific suspense.