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It’s a terrific end to an iconic series, with a soundtrack that sounds like violins going down the plughole. Meanwhile Ruth is making lights out of sheep’s fat, and meeting Britain’s last remaining wooden dish-maker who turns a bit of tree trunk into a bowl.

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Actors Anna Madeley and Daniel Mays played the victim and perpetrator, but all of the professionals with whom they came into contact – the police, medical professionals, lawyers, judge, court staff and jury members – were played by real people in their professional capacity. Toby Luttrell, Anne Reid as Daisy Luttrell, Anna Madeley as Barbara Franklin, Matthew Mc Nulty as Major Allerton, Philip Glenister as Sir William Boyd Carrington, Shaun Dingwall as Dr Franklin, David Suchet as Hercule Poirot, Hugh Fraser as Captain Hastings, Alice Orr-Ewing as Judith, Helen Baxendale as Elizabeth Cole and Aidan Mc Ardle as Stephen Norton Agatha Christie’s Poirot: Curtain /Being Poirot (8pm and pm, ITV)Nicely timed for Movember, the Belgian detective’s famous moustache is the only thing about him that’s not showing signs of age.After 25 years, David Suchet lost two stone to play Poirot in his final case, and he’s now a frail old man in a wheelchair. If you’re recording these to watch later, don’t make the mistake of watching Being Poirot first.It may be the nation's favourite Shakespeare, but when you stop and think about it, A Midsummer Night's Dream is pretty damn problematic: a messy, uncomfortable story of misogyny, manipulation and substance abuse. His production unleashes all that's ugly in the play, and all that's repellant in its characters. One half-expects to see used condoms and broken glass buried in the mire. And they're inhabited by fairies of a different sort, sprites unhinged by jealousy, maddened with lust, and fuelled by a furious desire for revenge. Johannes Schütz's startling set consists of little more than a semi-circle of treacherous mud, across which the cast stagger their wanton way until, by the conclusion, they're caked in filth. No longer are the woods surrounding Athens a magical, ethereal realm, they're the last day of Glastonbury.Before that, Curtain sees Poirot return to Styles, the country guest house where he and Captain Hastings (Hugh Fraser) solved their first murder together.

One mystery Poirot offers no clues to however is why anyone would choose Styles for a holiday.

The dark atmosphere of foreboding is augmented by Richard Hammarton’s sound score with its ominous rumbles and distant clankings.

We are given a practical demonstration of the ease with which people succumb to suspicion right at the outset, Farber leaving us to wonder whether it is soup or demonic incense that’s smoking in the dish that the slave Tituba is carrying as she makes repeated circuits of the stage.

Yaël Farber’s mesmerising production of Arthur Miller’s great play unfolds with the sick dread of a horrible dream from which you are powerless to awake.

The South African director made a huge impact internationally with her Mies Julie in which she transplanted Strindberg’s classic and its master-slave dynamic to the present day in her native country.

Consideration of actors’ processes has remained conspicuously absent in analyses of docudrama or documentary television.