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
ENTERTAINING MURDER
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