Unveiling the Maternal Bond

📜 From Play to Novel

The narrative of A Daughter's a Daughter originated not as a novel, but as a play conceived by Agatha Christie in the late 1930s. This theatrical inception highlights Christie's versatility as a writer, demonstrating her ability to craft compelling stories across different mediums, even those exploring more dramatic and less mystery-focused themes.^[3]

🎬 An Attempted Stage Production

In 1950, Christie sought to bring her play to the stage, engaging Peter Saunders, who would later become renowned as the producer of her iconic play, The Mousetrap. Saunders, recognizing the script's potential but also its dated references, suggested amendments to modernize the dialogue and context, reflecting the two-decade gap since its initial writing.^[4]

📉 Limited Theatrical Run

The play eventually premiered at the Theatre Royal, Bath, on July 9, 1956. Despite the public knowledge of Mary Westmacott's true identity as Agatha Christie since 1949, which generated considerable interest and good attendance figures, the run was brief, lasting only one week and eight performances. Saunders ultimately concluded that the play lacked the commercial viability for a successful West End transfer, a decision Christie did not challenge.^[5]

🚫 Daughter's Hesitation and Posthumous Production

Following Agatha Christie's passing, the copyright for the play version of A Daughter's a Daughter was held by her daughter, Rosalind Hicks. Hicks reportedly harbored reservations about the play, believing that its central character was, in part, based on her. This personal connection contributed to the play's dormancy for many years.^[8]

✨ A New Life on Stage

It was only after Rosalind Hicks' death in 2004 that the play found a path to revival. In 2009, producer Bill Kenwright mounted a new production, which opened in London's West End on December 14. The cast featured notable actresses Jenny Seagrove and Honeysuckle Weeks, bringing Christie's lesser-known dramatic work to a contemporary audience.^[9]

💬 Critical Acclaim for its Honesty

Bill Kenwright offered a compelling assessment of the play, describing it as "brutal and incredibly honest." He further asserted its intrinsic merit, stating, "It's a good enough play to stand up without the Christie brand. It's quite a tough play. It is a substantial night at the theatre." These remarks underscore the play's thematic weight and its ability to resonate independently of Christie's more famous mystery oeuvre, highlighting its artistic integrity and dramatic power.^[10]

👤 The Significance of the Westmacott Pseudonym

Agatha Christie's use of the Mary Westmacott pseudonym for A Daughter's a Daughter and five other novels allowed her to explore genres and themes distinct from her famous detective stories. This creative outlet provided a space for more introspective, character-driven narratives, often focusing on emotional turmoil and complex relationships rather than criminal puzzles. The Westmacott works offer a unique glimpse into Christie's broader literary ambitions and her capacity for diverse storytelling.^[11]

🔗 Context within Christie's Oeuvre

While published under a different name, A Daughter's a Daughter holds a chronological place within Christie's extensive bibliography. It was published in 1952, following her detective novel They Do It with Mirrors and preceding After the Funeral. This positioning highlights her simultaneous engagement with both her popular mystery series and her more personal, dramatic works, showcasing a prolific and multifaceted writing career.^[12]

📜 References