Blue Murder at Bluestone Hall

Wellingborough Technical Players have chosen to perform Blue Murder at Bluestone Hall – which is a comedy dinner theatre murder mystery play written by Cheryl Barrett and published by Lazy Bees Script.

I received a warm welcome at The Castle Theatre from Director Dorothy Allebone and Chair Richard Llewellyn, and was kindly shown to my seat in a packed studio theatre. The space was arranged cabaret-style, with tables and chairs that immediately created an intimate, sociable atmosphere. Each table featured information about the characters we were about to meet, along with encouragement to take notes and solve the crime ourselves. These details included intriguing facts about the characters and their relationships to Bluestone Hall — otherwise known as the suspects.

Set in 1923, the story unfolds at Bluestone Hall, the country estate of Lady Constance Dunne-Wittering. The plot begins during one of her formal gatherings, abruptly interrupted by a cry of “blue murder” that shatters the calm of afternoon tea. Enter the hapless Detective Inspector Mayday, who arrives to investigate the killing. As the investigation progresses, it becomes clear that almost everyone present has a motive, adding layers of suspicion and intrigue.

The cast of characters is delightfully varied. Lady Constance Dunne-Wittering played by Ann Zellie, presides as the formidable lady of the manor, with straight backed, hoity-toity ayres. While Inspector Mayday (David Mander), leads the investigation with questionable efficiency. Among the suspects are Tia Maria, (Alison Thomas), the young maid and Ivanna Foxtrot, (Michaela Clement-Hayes), a self-serving fiancée with an eye for opportunity.

A host of other staff and guests, including Victoria Sponge the cook played by Judith Warren, Fetchitt the Butler played by Brady Jolly, Major Freddie Dunne-Wittering played by Tim Allebone, Henrietta Souffle the vicars wife, played by Shelley Scripps, the daughter, Lady Dorothy Dunne-Wittering played by Emma Legg, the secretary with a story to tell, Anna Conda played by Glenda Biggs, each bringing their own secrets and potential motives.

The performance was enhanced by strong production values throughout. The costumes created a cohesive visual style and clearly evoked the 1920s setting, while the hair, make-up, and wigs were all made to look period-appropriate and thoughtfully executed. I particularly noticed that the posture for each character was correct and exacting, well done. Lighting was simple yet effective, supporting the action without distraction. (Dave Jones on sound and lighting.)

The stage itself is one of the smallest theatre spaces I have encountered, yet Director Dorothy Allebone made excellent use of every inch. A practical door featured prominently and was used dynamically by almost all of the characters, becoming an integral part of the staging. Set design and construction by Richard Llewellyn. Directorial touches, such as character movements, use of the set props and the overall pace were excellent.

The sound quality was very good, and the cast demonstrated clear, confident diction throughout. A range of accents — from upper to lower class — were convincingly portrayed. Michaela, as Ivanna, delivered a particularly strong vocal performance, while Judith, as the cook, used her accent to great comedic effect. The use of incidental music enhanced the show from beginning to end.

Despite the small performance space, Alison moved with energy as the maid, capturing the character’s unabashed eagerness. Brady’s irreverent Fetchitt provided many comic touches, though I would have welcomed moments of stillness to better contrast with Tia’s high energy. Shelley gave a strong performance as the (almost Miss Marple-like) Henrietta; her characterisation was detailed and assured, with lovely mannerisms and well-judged comic timing.

Tim, as Lord Freddie, commanded the stage with strength and an excellent vocal presence, delivering a performance that truly stood out. His niece, played by Emma Legg, brought a delightful sense of youthful enthusiasm to her role.

Finally, special mention must go to David Mander for his enthusiastic and confident portrayal of Detective Inspector Mayday. Though the character appeared bumbling, there was an underlying calm authority, and his ability to manage audience interaction — particularly handling questions — was especially impressive.

Overall, this production was a clear success. The packed audience thoroughly enjoyed the entire evening, which also included a light supper prepared by Anne Leathers and Nathan Gibson, and served by members and helpers of Wellingborough Technical Players.

It was an excellent choice of play, and the company should feel justifiably proud of the entire team effort that brought it so successfully to life.

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