Black Coffee by Agatha Christie
The Crime Writer's Play, Adapted as a Novel by Charles Osborne
Feb 23, 2009
In 1929, Agatha Christie wrote the first of her plays, Black Coffee, but was advised by her agent that it was not good enough to produce on the stage. However, she ignored him and, the following year, through a friend who was involved in theatrical management, managed to get the play produced at the Embassy Theatre in Swiss Cottage, London.
It remained a favourite in the theatre, getting its turn in the West End, and was filmed in 1956. In this production, an actor called Charled Osborne played his role and it is he who we must thank ultimately for the brainwave of creating just one more Agatha Christie novel for the public to enjoy.
Having already become intimately conversant with the renowned crime writer's works, through writing his well-acclaimed book, The Life and Crimes of Agatha Christie (Harper Collins 2000, ISBN978-0006531722), he approached Agatha Christie Limited and suggested that he adapt Agatha Christie's old play and produce the one thing that her fans craved more than anything else - another Christie novel. His adaptation of Black Coffee was published in 1998 by Harper Collins (ISBN 0 00 712111 3) and has since been reprinted, which is hardly a surprise, knowing the vast worldwide popularity of Christie's crime fiction.
The plot of Black Coffee lends itself perfectly to a stage play, but equally finds a suitable home in the novel. It is set exclusively in an English country house, home of Sir Claud Amory, the distinguished, if somewhat obsessive, scientist. He has been working hard on a scientific formula which is worth a fortune, but calls upon the services of possibly Agatha Christie's best invention ever, Hercule Poirot, as he believes someone in his family is trying to steal it.
In true Agatha Christie style, each of the family members is set up with the possibility of both wanting Sir Claud dead and the majority are given the obvious opportunity of stealing the formula. Just before Poirot arrives at the house, Sir Claud gives the suspect an opportunity to return the stolen item. In full theatrical form, the lights are put out, ready for the thief to return the formula.
And, it appears that all is well once the lights return - the envelope containing the document is on the table, and everyone continues about their business, drinking coffee. But someone has poisoned Sir Claud's drink, and, as one would expect from a Christie murder, it has to be someone who was clearly in the room at the time.
Hence the arrival of Hercule Poirot and his sidekick, Hastings. Together, they set about discovering the identity of the thief and the murderer, much to the reluctance of the family, who wish to avoid a scandal at all costs. Poirot works using his famous order and method, until he is able to set a trap for the murderer and set free those characters who have been in emotional turmoil ever since the tragedy occurred and who constantly try to bemuse Poirot through their own misguided loyalty to each other.
Although the plot is the vehicle which makes the entire story tick over, as ever, Agatha Christie's characterization is superb. It is this which makes the story much more than just a two-dimensional murder mystery plot. She pairs cool, level-headed men with deeply emotional women, fickle and progressive females with staunch, old-fashioned males, and openly foreign characters with secretive English ones. The drama from such enjambement ripples through the entire story.
However, despite Agatha Christie's riveting and revealing dialogue, there is just an inkling of that special something missing in the narrative. Charles Osborne has done a splendid job in creating a novel from play direction, but the movement of the plot still feels just a little like a set of stage directions.
There is an imitation of Christie's style in the writing, it is true, and this works well. But that ingredient which makes Agatha Christie novels so special could only have been included if it had actually been Christie who had written this as a novel - that of the author's narrative which conveys sneaking pieces of information about the characters in a covert fashion, and which builds up a full picture for the reader of each individual. And, after all, it is the characters who make each Christie novel, short story and even her lesser-known romantic books the stunning pieces they are.
For all this, though, this novel gives all Agatha Christie readers the opportunity to read a story which they may otherwise not experience, unless they are lucky enough to see a performance of the play . And, although Black Coffee is still being performed, it is not on a widespread scale. Therefore, Charles Osborne, clearly a dedicated fan of Agatha Christie himself, has given all Agatha Christie fans yet another great book to add to a fascinating collection of stories which have only been outsold by Shakespeare and the Bible.
BibliographyAgatha Christie and Charles Osborne, Black Coffee, Harper Collins 1998
Charles Osborne, The Life and Crimes of Agatha Christie, Harper Collins 2000
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