Spiegel Wagner plays quiet and calculating in murder mystery

Sharon Spiegel Wagner is once again in an Agatha Christie mystery, The Murder of Roger Ackroyd in Johannesburg. The SA Jewish Report caught up with her between rehearsals. 

We fell for you doing musical comedy, but this is your second Agatha Christie murder mystery role in two years. Which is the real Sharon, and why? 

Being ambitious, I never wanted to pigeonhole myself as only a comedian or a singer. Diversifying my skills was always a priority and also, being a one-trick pony doesn’t cut it in a profession like this. Sure, I have a wheelhouse in which I’m comfortable, but I’m always stretching myself. Even I don’t know who the real Sharon is. I wear a mom cloak, a wife cloak, a daughter dress, I play lots of parts. I’m a bag of goodies. 

Which type of role do you prefer? 

I prefer it all. When I’m singing, I miss acting. When I’m acting, I long to sing. When I’m being funny, I miss the mystery, and when I’m in a mystery, I miss making people laugh. I prefer to be working. As much as I can. Good work. 

What is it about Agatha Christie that’s drawn you to a second role in such a short space of time? 

Agatha Christie’s work is so well known and adored. She takes the scary out of horror. It’s the ultimate puzzle game, a Cluedo on stage. I love her characters and the worlds she creates. They’re nuanced, and quirky. She has a way of making murderers likeable, because they are driven by an underlying reason. They don’t kill for the sake of killing. She explores a humanity in the horrific. What can I say, Aggy is the queen of this genre and this is actually my favourite Christie – so far. 

Tell us about your character? 

My character is the secretary of the murder victim. She’s the one character who has a history beyond the walls of where the events take place. She’s officious, professional, and a bit cold. Mostly because of a troubled past. She’s certainly different to Sharon. 

What appeals to you about this role? 

I took on this role more for the piece of the puzzle she plays in the story. It’s an ensemble piece with lots of moving parts and I was intrigued by that mostly, and the knockout lineup of cast members. 

What did you do to prepare for this particular role? 

I needed to speak with a Received Pronunciation English accent, so I got straight onto that. I did my research on the play and when and where it’s set. 

How does it compare with the previous Agatha Christie role you played? 

They couldn’t be more different. In the last one I was the headliner, playing a German immigrant actress who kills her husband in a courtroom! Romaine was the ultimate femme fatale. I played a symbol of danger and powerful feminine enigma. There was a magnetism about her. In this Christie, my character would much rather disappear than be seen. She’s quiet, calculating, and unassuming. 

What’s challenging about this role, and is there something you love about it? 

Every role has its challenges. Becoming a character; speaking like her, standing like her, walking like her, it all requires pedantic human examination, like dissecting who someone is and how they think and behave. I can’t say I had any more challenges than I usually do. I’m quite impulsive and emotional and Helen Russel isn’t – she’s methodical and calculating. It was nice being a bit cooler than usual. 

Tell us about the cast and working with them on this. 

The cast is extraordinary. A cast in the theatre world becomes your family. On stage with me are legendary theatre vets Alan Committie, Graham Hopkins, Russel Savadier, the Richards (Louise and Michael), and Mike Huff. 

Dianne Simpson is one of my favourite actresses. She was in the last Christie with me too. And then we have some newcomers who are keeping the spring in our step. I’ve befriended them all, and I love them dearly. The wealth of knowledge, experience, and passion for theatre on that stage is inspiring. 

Alan Swerdlow is once again directing. He seems to be a common denominator in a lot of your work. Is that true, and why? 

Alan has been the common denominator in most of my life and career. He chose me for the children’s chorus in La Bohème at the State Theatre in Pretoria when I was just nine years old, and again as a child of Siam in the King and I when I was 11. 

Alan isn’t only a legend in the theatre, a master in the arts, but he’s also a kindred spirit and a neshama that has spanned lifetimes with mine. 

Have you been writing scripts and if so, what? 

I never stop writing, creating, but I can’t say what until you buy the ticket to come see it. 

When are we going to see you in musical comedy again? 

Comedy is my first love. I’ll always come back to it. Sooner than you think. Watch this space. 

• The Murder of Roger Ackroyd is at the Pieter Toerien Theatre at Montecasino from 21 August to 27 September.