What is better on a cold night in January than curling up with a good mystery book? How about watching what is arguably the most complex mystery ever written as it comes to life at L/A Community Little Theatre.

Agatha Christie’s “And Then There Were None” is the world’s best-selling mystery. In fact, with over 100 million copies sold it is one of the best-selling books of all time. Director Danny Gay guides a talented, sparkling cast as they portray Christie’s 10 protagonists, who are both the victims and the detectives tasked with solving their own impending deaths.

There can be little doubt that this “whodunit,” published in 1939, inspired the board game “Clue,” which families have played since its introduction in 1949. Brought to life by the CLT cast, the baffling murder mystery absolutely reminds one of the entertaining activity: In the drawing room with poison; in the kitchen with an ax; by the settee with a hypodermic needle. Not only is this a classic whodunit, but more mystifyingly a “howdunit.” The deeds are obvious, but the perpetrator is a chilling unknown.

Dark humor threads its way throughout as the complex plot evolves. The characters are all stereotypes of the early 20th-century British colonial class. The mystery is initiated as each individual must explain his or her alleged involvement in a prior heinous crime declared by a disembodied stentorian voice. As a result, one by one the protagonists perish. The literary instrument of an old nursery rhyme dating back to the 1600s predicts the order and method of their demise.

“Ten little Soldier Boys went out to dine; One choked his little self and then there were nine.

Nine little Soldier Boys sat up very late; One overslept himself and then there were eight.”

This poem terrifyingly describes the unknown killer’s clear intent to follow the rhyme to its numerical conclusion.

“One little Soldier Boy left all alone, went out and hanged himself and then there were none.”

Elise Christie and Paul Menezes are terrific as Mr. and Mrs. Rogers, the domestic help who bicker lovingly and secretly scoff at the society guests who begin arriving at Soldier Island. The guests, having been summoned to the island mansion by the owners, the Owens, whom no one seems to know personally, begin to wonder why they were invited.

Sarah Duncan and Jacob Osborne are similar standouts as Vera Claythorne (secretary to Mrs. Owens) and Captain Philip Lombard (late of the King’s African Rifles). As the first couple to arrive by boat from the mainland, Vera and Philip appear to have already found interest in one another.

Archer Slater plays a dual role as Fred Narracott, errand boy from the mainland to the island, and as Anthony Marston, a guest and somewhat arrogant and fast-living young man who hopes to turn Vera’s head away from Captain Lombard.

A second boatload of guests arrives shortly after. There’s William Blore (played by Tony Roy), who passes himself off as a South African gold magnate named Davis. In actuality, he is an undercover detective and former policeman. There’s a somewhat addled General Mackenzie (played by Phil Vampatella) as a retired campaigner, widowed for some years and living at the Benton Club. And there’s Emily Brent (played by Andrea Myles-Hunkin) as the starched, staid and self-righteous dowager full of demands and expectations.

Sir Lawrence Wargrave (played by Roger Philippon), a judge, is next on hand, shortly followed by Dr. Armstrong (played by Ray Fletcher), a neurological specialist who remarkably and quickly acquires a case of “nerves” in the face of the macabre incidents as they unfold.

Ostensibly summoned for a weekend of relaxation, refreshment and camaraderie as they get to know one another, fate and a sinister presence have other plans in the form of the ritual murders that follow each line of the nursery rhyme. The audience and the victims are all privy to the clues that predict each crime. But who is conducting these dastardly deeds with complete anonymity and secrecy? And how will the deeds be perpetrated? Suspicions arise, of course, as all find themselves looking over their shoulders.

Fine costuming, makeup, and set décor highlight the period setting of the play, all a credit to a large behind-the-scenes crew. Effective and evocative sound and lighting impart additional weight to the fateful events as they occur. Add this to the excellent talent of the 10 actors and you have a production of “And Then There Were None” worthy of Miss Christie’s enduring work.

Remaining performances of “And Then There Were None” at L-A Community Little Theatre in Auburn are Thursday and Friday, Jan 25 and 26, at 7:30 p.m. and Saturday and Sunday, Jan 27 and 28, at 2 p.m.

The theater is at 30 Academy St, Auburn.

For tickets and more information: call (207) 783-0958 or email info@laclt.com or boxoffice@laclt.com.

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