ENTERTAINING MURDER at Upstairs at the Gatehouse

★★★

“a compelling story, and the performances and music are engaging”

This musical, structured as a true crime podcast, tells the real story of Edith Thompson’s 1922 trial for the murder of her husband, by her lover. The central question of the play is how complicit was Edith in her husband’s death, and will she be found innocent or guilty of murder.

The story is salacious, Edith is trapped in a loveless marriage, unable to divorce, despite a passionate obsession with her young lodger. Her 62 love letters, filled with intimate sexual detail are read out at the Old Bailey, and she is set upon by the prurient tabloid press.

Writer and director Chris Burgess sees this as a ‘passionate and tragic love story’ though most of the colour is found in Edith’s sexual awakening, at the hands of the handsome young Freddy. The play presents their story as a great romance, but it is maybe more intriguing as a lustful triste that enables a crime of passion.

The choice to present this story as a true crime podcast feels under explored. It is used as a device for exposition, interrupting the songs with evidence-based narration. It also firmly emphasises when the dialogue is verbatim from the court transcript or Edith’s letters. Unfortunately, this has the effect of making the imagined scenes seem straight from a soap opera. The characters are thinly fleshed out, with nothing more than their circumstances presented. Edith is not explored enough to be unique, or especially interesting, beyond her raunchy fantasies.

All of the actors’ performances are rich and complex and it’s a shame they’re trapped in this ungainly format. Each performer sits on a stool behind a music stand. The Writer narrates and the others jump into centre stage to perform moments from the narrative. There are dance numbers, by movement director Robbie O’Reilly, which have a jazzy ‘Chicago’ feel and are too few and far between.

Daisy Snelson is mischievous and sensual as Edith. Her voice is incredible and her songs enchanting. The tragedy of her life is lacking a little, but through no fault of Snelson. Dominic Sullivan as Freddy is flirty and fun, and his passion is clear. As he performs the fit of jealousy that leads to the murder, he shows an impressive range and depth of emotion. When not actively performing though, he fidgets and giggles, which is a pity. Alex Cosgriff and Jude St James are jovial and energetic as the chorus, presenting the British Press, the various courtroom figures, and Cosgriff as Percy, the murdered husband. Sue Kelvin is criminally underused as the narrator. When she is allowed a moment to shine, she completely steals the stage, captivating the audience with her rich singing voice and witty asides.

The music saves this production. It is performed by musical director Isaac Adni, on the piano, whose energy and focus are infectious. Chris Burgess has worked with musical arranger Steven Edis to bring this varied and exciting music to life. There’s a nod to the 1920s period, but it doesn’t feel trapped in one genre or mood. Each number, be it moving ballad, sultry solo or peppy tune, allows the strength of the singers to shine.

It is a compelling story, and the performances and music are engaging, but the format is distancing, making the whole show feel ultimately meandering.

ENTERTAINING MURDER at Upstairs at the Gatehouse

Reviewed on 27th November 2024

by Auriol Reddaway

Previously reviewed at this venue:

THE BOYS FROM SYRACUSE | ★★★ | September 2024

TOM LEHRER IS TEACHING MATH AND DOESN’T WANT TO TALK TO YOU | ★★ | May 2024

IN CLAY | ★★★★★ | March 2024

SONGS FOR A NEW WORLD | ★★★ | February 2024

YOU’RE A GOOD MAN, CHARLIE BROWN | ★★ | December 2023

THIS GIRL – THE CYNTHIA LENNON STORY | ★★ | July 2023

HOW TO BUILD A BETTER TULIP | ★★ | November 2022

FOREVER PLAID | ★★★★ | June 2021

ENTERTAINING MURDER

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★★★

“If allowed to, I think this piece will grow up to match the quality of Macor’s other plays“

It’s in the title. And it is fundamentally undeniable, which is probably why writer Claudio Macor has separated the dancer from the dance to focus on the lesser known events of Fonteyn’s life. Commissioned to write the piece for the King’s Head Theatre’s annual ‘Playmill’ festival of new writing, Macor has rightly refused merely to tell us what we already know. Here we see Margot Fonteyn reinventing herself as a cattle rancher, we learn some of the reasons she kept on dancing long after she should have stopped. We get snapshots of her childhood and her relationship with her mother. And at its heart is her marriage to Roberto (Tito) Arias, the serial adulterer and dodgy Panamanian politician.

But at barely an hour long we don’t really feel the pulse of this story. We are, in fact, left wanting it to be massaged into life and given the prospect of a long and healthy future. Even given the limitations of being part of a festival, “Margot, Dame” feels underdeveloped. Thankfully we are aided by a back projection informing us when and where we are in the action as the narrative jumps about chronologically. We have fewer pointers, however, to help us decide whether we are watching a comedy or an earnest piece of drama.

Abigail Moore gives an assured portrayal of the eponymous Fonteyn. An unenviable task but she mixes the imposed affectations of the grand dame with the down to earth girl from Reigate. Neat touches such as the origin of her stage name (“… named after a hairdresser’s on Tottenham Court Road…”) season the exposition with a bit of spice. Fanos Xenofos has more scope for dramatic licence as the husband, ‘Tito’. It was a complicated relationship, and Xenofos’ performance only occasionally hints at the mystique of the man that Fonteyn had to put up with. After a failed coup to oust the President of Panama, Tito escapes and returns to Peru. Margot is arrested for her involvement in her husband’s botched attempt at gun-smuggling. When Tito was confined to a wheelchair for the rest of his life after an assassination attempt, Margot uses up all her savings to care for him – one of the main reasons she continued to dance so late into her life.

The story is not so much sidestepped as danced over lightly. It is a fascinating angle on Fonteyn’s life and one that refreshingly avoids the obvious. But, as if worried that the audience might lose interest, director Robert McWhir and choreographer Robbie O’Reilly have shoehorned flourishes of ballet to cover the scene changes and time shifts, which dilute rather than add flavour.

But one mustn’t lose sight of the purpose of the Playmill Festival at the King’s Head, which is a vital platform for new writing. “Margot, Dame…” has only two performances in which to reveal its essence. As Fonteyn herself famously said; “… the first night is the worst possible time to make a hard and fast criticism: the baby never looks its best on the day it is born…” If allowed to, I think this piece will grow up to match the quality of Macor’s other plays.

Reviewed by Jonathan Evans

Photography by Peter Davies

ENTERTAINING MURDER at Upstairs at the Gatehouse

★★★

“a compelling story, and the performances and music are engaging”

ENTERTAINING MURDER at Upstairs at the Gatehouse

Reviewed on 27th November 2024

by Auriol Reddaway

Previously reviewed at this venue:

ENTERTAINING MURDER

ENTERTAINING MURDER

King’s Head Theatre

Reviewed – 17th July 2019

★★★

“If allowed to, I think this piece will grow up to match the quality of Macor’s other plays“

Reviewed by Jonathan Evans

Photography by Peter Davies

Margot, Dame, The Most Famous Ballerina In The World

King’s Head Theatre until 18th July as part of Playmill New Writing Festival

Last ten shows reviewed at this venue: