Critical Context

When Sleuth premiered in London in 1970, it was called the play that critics could not review. Indeed, critics found it next to impossible to say anything about the subject of the play for fear of slipping up and revealing one of the many devious plot twists, and thus earning the wrath of those who had not yet seen it. Certainly Sleuth’s effectiveness depends to a large degree on its shocking plot devices. There is no denying, however, that the play’s two characters are more than two-dimensional plot foils. Both are strong, dynamic individuals who go far beyond the stereotypical stick figures found in plays which rely heavily on plot trickery as opposed to character development for their effectiveness. The language is especially lively and rich with witticisms, in keeping with the flamboyant nature of the characters themselves.

Sleuth was Anthony Shaffer’s first play. He had previously written detective novels with his brother Peter (also a successful playwright) under the pseudonym Peter Antony and worked on several television projects. Shaffer admitted that the inspiration for Sleuth came after learning that Agatha Christie, the undisputed queen of the parlor room style of murder mystery, was the most-published author in the world. Shaffer wanted both to send up Christie and the genre in which she excelled, and at the same time to use the elements inherent in this most popular genre. The result was an extremely...

(The entire section is 425 words.)