Churchill Theatre Archives - thespyinthestalls.com

★★★★

“A brilliant thriller that keeps you guessing”

Murder at Midnight written by Torben Betts is a comedy thriller full of twists, turns and jaw dropping absurdity. It is a ninety minute countdown to the start of a New Year, set in the luxury mansion of a one eyed cockney drug dealer named Jonny the Cyclops (Jason Durr). Throughout the evening we see his mother (Susie Blake), his girlfriend Lisa (Iryna Poplavska), his sidekick (Peter Moreton) and his maid Cristina (Bella Farr) all spin a complicated web of deceit, scandal and lies until it all comes crashing down – this play is truly a classic farce.

Before anything begins, the glorious set design (Colin Falconer) quickly paints a picture of what is about to come, and in the first scene we are fed very specific details about the main events, however this is not nearly enough to prepare you for what is in store. During the play we witness multiple storylines and relationships unfold at a very fast pace, you have no choice but to focus and keep up, but the actors make this such an enjoyable experience. Their characterisation and heightened physicality really keeps the energy from beginning to end. They commit truly to the high stakes built within outrageous circumstances. We see shifting dynamics in relationships and some serious status play that keeps you on your toes. The actors were connected to their roles and each other throughout so well, it really allows you to get invested in the characters.

We also meet Paul (Max Bowden) and Russell (Callum Balmforth) who join in on this masterclass on physical and vocal comedy. They both offer even more insanity and foolishness to this play, leaving you either shaking your head at them, laughing with them or laughing at them. Having a collaboration of household names, together on stage, really gives the performance that “Saturday evening entertainment” feel. You feel connected as an audience with the undercurrent themes of British humour, references and character archetypes that we know and love. Even the music connects us back to British culture and social commentary making everything feel all the more familiar.

Director Philip Franks, has done a great job in finding harmony in an already chaotic play. He moves us from location to location, he keeps every spot of the stage alive and you always have something to see or witness! As one storyline unfolds, you get the sweet treat of seeing another be foretold, and it is all just a rollercoaster. To be able to manage so many different components that this play offers is a real talent, and in ninety minutes Franks really showcases his creativity and genius for visual storytelling and directing.

Murder at Midnight is both everything and nothing you would expect from a murder mystery. However, there is a certain warmth to a play, that when it is well oiled and has been played to an audience a few times or rehearsed to an audience worthy standard multiple times, you can feel it – everything feels slick, and you are invested in a new reality. This warmth was present, but there were small moments where it was absent and stuck out a little harshly. A few stumbles on lines and a few inconsistent holes, most of which can easily be worked out over the run.

This play is fun but dark. There is a constant foreboding atmosphere and it is full of clever jokes with expert timing. A brilliant thriller that keeps you guessing until it is all tied up with a shocking surprise at the end. It is the truest form of a British farce disguised as a murder mystery and who couldn’t love that?

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