The Guthrie’s Dial M for Murder, which ran from Jan. 20 to Feb. 24, was a well-plotted love letter to the thriller genre. From a suspenseful string staccato to an exaggerated death scene, the play gathers cliches by the bucketful, but such self-awareness is what sells the act. Initially an Alfred Hitchcock play, who wrote the screenplay for the 1954 film, adapter Jerry Hatcher deemed the original version “near perfect” in an interview published in the program. Dial M for Murder surpasses the burden of murder-mystery predictability by elegantly pulling out all the traditional stops. The twists are still shocking, the dialogue is still exciting to follow, and the betrayal is still fresh, even for those who know the formula by heart. Dial M for Murder comes off as a more authentic and classier version of every copy-and-paste thriller that followed. And Hatcher was careful not to alter whatever went right in Hitchcock’s version. “The first rule of adaption is: Don’t screw it up. Whatever works, leave that alone,” he said in the same interview.

Dial M for Murder is no ordinary murder mystery, as a mere reading of the title may suggest. It is a thriller, meaning the audience is in on it from the start. One cannot attempt to figure out the identity of the perpetrator. Instead, they must helplessly watch their schemes unfold. The setting is London, 1954. Tony Wendice (David Andrew Macdonald) has just learned of an affair between his wealthy wife Margot (Gretchen Egolf) and successful murder mystery novelist Maxine Hadley (Lori Vega). Armed with the perfect motive, he blackmails an old acquaintance, Lesgate (Peter Christian Hansen), to carry out the perfect murder. However, when things do not go as planned, the couple are left scrambling to cover up their secrets.

Hatcher does an excellent job of preserving the integrity of the original play by keeping the beloved moments of tension and adding his own twists. Instead of an affair with a man, Margot is fighting to hide a lesbian romance, increasing the stakes for everyone involved. For Margot’s husband, his role as a failed writer instead of a tennis player enriches his motive of jealousy. These changes are seamlessly incorporated into the fabric of the play, causing the audience to draw an even bigger breath. The gender switch drives the audience to root for Maxine, the star of a forbidden romance, in a way they wouldn’t originally for Max.

As far as “stars” go, Macdonald and Vega shine in their roles as Tony Wendice and Maxine Hadley, respectively. Vega prances around on stage with a breezy air, flaunting a sharp British accent like second nature. And Macdonald stole the show through rapid-fire lies and shared moments with the audience. Indeed, quick glances and moments of secret celebration often induced bursts of laughter from around the auditorium. Watching Wendice attempt to cover his tracks is an experience that the audience is privy to, riling up edge-of-your-seat nerves capable of keeping one engaged until the last second. The costumes do an excellent job of representing the characters that wear them: Maxine’s outfits are bright and eccentric, yet always put together, belonging in the wardrobe of a woman who knows how to set herself up for success. Tony’s increasingly hurried business attire is plain and transparent, as his motives are from the start. And the intelligent, obedient outfits that don Margot eventually become messy and rumpled as her life unravels around her. The occasional pulse of a sassy, nostalgic jazz beat helps keep the audience on their toes. A more dramatic score isn’t needed, as the actors provide all the tension.

For those who enjoy classic thrillers, Dial M for Murder is undoubtedly a fantastic investment. There are no set changes because the play relies on dialogue to forward its plot. A view of only Wendice’s London for the entire duration may bore those who prefer more action-packed thrillers that depend on high-production jump scares. One can’t find that here. But there’s little room to go wrong for those who enjoy tracking the story through character interactions.

Next on the Wurtele Thrust Stage is Richard II, Henry IV and Henry V by William Shakespeare. The play will run from Mar. 23 to May 25.