A story with three deaths and Hercule Poirot on the case undoubtedly will make reveal its’ goods. Agatha Christie wrote Three Act Tragedy, which was published in the United Kingdom in 1935. In 1934, the book was published in the United States as Murder in Three Acts. That separate publishing companies were involved led to the odd result of this one book having two titles.
(Agatha Christie wrote Three Act Tragedy, which was originally published as such in the United Kingdom in 1935. When published in the United States in 1934, the book was titled Murder in Three Acts).
The story of Three Act Tragedy opens with a dinner party hosted in Cornwall, England as hosted by one Sir Charles Cartwright. Cartwright is an actor of notable acclaim, with guests including the playwright Muriel Wills, psychiatrist Sir Bartholomew Strange, Captain Dacres and his wife Cynthia, Hermione ‘Egg’ Lytton Gore and her mother, Egg’s friend Oliver Manders, Mr. Satterthwaite, the Reverend Babbington and his wife, and one Hercule Poirot. When the Reverend Babbington suddenly dies after having a small quantity of served cocktail, the tragedy in three acts was afoot.
(Alternative covers for the Agatha Christie book Three Act Tragedy, which in some contexts carried the title Murder in Three Acts).
The notion takes on greater significance when Poirot, while in Monte-Carlo, Monaco learns that a guest at the original party has died in quite a similar manner at a party he had hosted, with a largely similar guest list as had attended Cartwright’s party when the original death had occurred. Mr. Satterthwaite joins Sir Charles Cartwright back in England to determine what light can be shed upon the two deaths. That Poirot has of this sort is largely unique among the novels with Hercule Poirot that I have read.
(Alternative covers for the Agatha Christie book Three Act Tragedy, which in some contexts carried the title Murder in Three Acts).
An odd set of circumstances involving a butler and blackmail letters come into the story, as well as the introduction of Egg (Hermione Lytton Gore) to add her contribution to the investigation. Interesting sets of clues and circumstances emerge, offering a number of possibilities for who had the opportunity and the motivation to conduct what appeared through much of the story to be two murders. Background of the Yorkshire, England sanitorium enters into the picture, with patient Mrs. De Rushbridger having sent a telegram to Poirot. The many tangled webs of the tale are later brought together with the original deceased, plus one other added to the bill.
(Agatha Christie wrote Three Act Tragedy, which alternatively was titled Murder in Three Acts).
The book that brought us here today was an enjoyable read. My suspicion for who the appropriate murder would be, with three such acts to account for, turned out to be correct. The experience of detecting the crime through the eyes of the characters experiencing this world as presented entertained me for sure. I grant Three Act Tragedy as written by Agatha Christie 3.75-stars on a scale of 1-to-5.
(The cover art for the 1987 Def Leppard album Hysteria is shown here).
Women charted 80th in the United States. Per Songfacts as sourced here, the band knew that “women don’t like songs called “Women,” especially when they’re prurient tales of male desire set in biblical times. When they released this song, Def Leppard knew that it would gin up their core audience but would have little appeal to the female fans who had made them superstars.”
(Women was the second overall single but first released in the United States for Hysteria. The song was released as Hysteria‘s first single in Canada, Australia, and Japan).
(Rocket was the last single from the Def Leppard album Hysteria, with a release in January 1989).
Animal charted sixth in the United States and 19th in the United Kingdom. The recording of the song “took three years to complete,” as referenced here. Besides the accident to drummer Rick Allen, the move to change producer from Jim Steinman to Robert John ‘Mutt’ Lange made a big difference with this song.
(Animal was the first single released internationally to support Hysteria, becoming Def Leppard‘s first Top 10 hit in the United Kingdom).
Love Bites introduces the notion that singer Joe Elliott wanted to emotionally invest in physical intimacy with a lady. That the song approaches this in a ballad format really helped the band resonate with ladies.
(Love Bites was a number-one single on the Billboard Hot 100 in the United States. It became a top-10 hit in Canada, Ireland, and New Zealand. The track peaked at number 11 on the UK Singles Chart for the United Kingdom).
Pour Some Sugar on Me charted second in the United States and 18th in the United Kingdom. The song became an anthem of sorts for the band, with influences as indicated here including The Archies and T. Rex. Illusions to physical intimacy from this song, metaphorically, are quite clear.
(Pour Some Sugar on Me reached number 2 on the Billboard Hot 100 in the United States on July 23rd, 1988. The song ranked number 2 on VH1‘s 100 Greatest Songs of the 80s in 2006).
Armageddon It charted third in the United States and 20th in the United Kingdom. The song plays with words similarly to the song Rocket from earlier in the album, with the lyrics “Are you getting it?” being answered with “Armageddon it”. As referenced here, the large influence of the change of producers was felt with this song. “Lange took over for Jim Steinman, whose sessions were scrapped in 1985. With Lange, they created songs with a rock bombast and commercial appeal, and this one also played great in stadiums.”
(Armageddon It was released in 1988, going to No. 3 in the United States. It also reached the top 10 in Canada and New Zealand and the top 2 in Ireland and the United Kingdom).
Gods of War “is as close to a protest song as you’re going to hear from Def Leppard,” as noted here. The song didn’t receive much critical or commercial love, though the ask to avoid getting into wars is noted.
Don’t Shoot Shotgun returns more strongly to the world of the platform of love, or at least intimacy, with a protest of sorts into jumping too quickly into a physical expression of love.
(From left, Joe Elliott, Rick Savage, Rick Allen, Phil Collen, and Steve Clark. This was Def Leppard‘s line-up for the 1987 album Hysteria).
Run Riot feels like an early in the setlist song intended for concerts in support of the Hysteria album. Lyrically, the song itself invites an investment in the glamorous perspective of rock-n-roll where hedonism has it costs but still feels worth it.
Hysteria returns to the ballad style with a song that charted tenth in the United States and 26th in the United Kingdom. As indicated here by guitarist Phil Collen, “The song really is about finding spiritual enlightenment[.] Not many people know that because it sounds like just getting hysterical, but it’s actually about that. It’s about finding this deeper thing, whether you believe it or not.”
(The tenth track on Def Leppard‘s 1987 album Hysteria was the song Hysteria, the fourth single for the album. The single was released in November of 1987).
Excitable offers a clear invitation for returning energy to the band in a concert. The song itself can be interpreted when listening to the album itself in a more intimacy-based context, with the exploration of what you feel outpacing what you think.
The Hysteria album ends with a ballad adjacent song named Love and Affection. Lyrically, the album ends with the offer of a one-night stand of experiencing intimacy where the singer invites the company for the night to give in to the invitation. This song thematically fits with the album, though the offering of so many lyrics without a true bridge back to a chorus strikes me as a bit weak for the finish.
Matt Lynn Digital 