Making a Killing

Making a Killing is an original murder‑mystery musical written by Aidan Fyfe, and it embraces the classic “whodunnit” format while elevating it through witty dialogue, heightened theatricality, and a series of cleverly crafted musical numbers. The story unfolds in a grand country mansion where a group of eccentric characters gather for what is meant to be a celebratory evening. However, the festivities take a dark turn when one of the esteemed guests is suddenly murdered, prompting a chaotic, comedic, and musically vibrant attempt to uncover the culprit.

The stage was arranged in a semi‑circular formation, bringing the audience unusually close to the action and creating an immersive atmosphere. Even before the show began, the pre‑set materials on stage sparked curiosity. Painted portraits, cardboard furnishings, and stylised props created an intentionally artificial aesthetic. At first, the cardboard set pieces seemed simplistic, but once the performance began, it became clear that this choice was deliberate. The exaggerated, almost caricatured design complemented the musical’s comedic tone and allowed for playful physicality, quick transitions, and visual humour that would not have worked with a more realistic set.

The opening number, Love is a Calling, set the tone brilliantly. Sung with conviction and supported by tight harmonies, it introduced the ensemble with energy and charm. The cast’s vocal blend and commitment to character immediately established the lively, slightly absurd atmosphere that carried through the rest of the show.

Rufus Angel, in the role of Julius Idle, delivered a performance marked by strong projection and a commanding stage presence. His character’s larger‑than‑life personality was matched by his vocal confidence, making his scenes particularly memorable. Freddie Raphael, who portrayed George Van Bachs, was another standout. His characterisation was consistently sharp, with impeccable comedic timing, expressive facial reactions, and a clear understanding of the musical’s farcical style. His interactions with Alistair Ledge, played by Kai Catahan, were especially entertaining. Their scenes together provided some of the production’s funniest moments, balancing physical comedy with witty dialogue.

The dynamic between George and Mary, played by Jennifer Roberts, added another layer of humour. Their pretend romance, clearly one‑sided and painfully awkward, was made even funnier by Mary’s expressive discomfort and George’s oblivious enthusiasm. Jennifer’s subtle reactions and comedic restraint contrasted perfectly with Raphael’s boldness, creating a believable and amusing tension between the characters.

Lewis Diggins, as Patrick Idle, portrayed the sheltered young man with a blend of innocence and surprising confidence. His character arc was handled with nuance, and he navigated the musical’s comedic and dramatic beats with ease, showing strong command of both his role and the stage.

The titular number, Making a Killing, was a major highlight. Performed by the full ensemble, it was executed with precision and flair. The choreography, vocal layering, and dramatic build created a sense of theatrical spectacle that captured the essence of the show’s dark humour. Another standout was The Death of Julius Idle, a number that balanced dramatic tension with stylistic exaggeration. The cast delivered the piece with a strong sense of timing and theatricality, making it both engaging and entertaining.

Without giving away the ending, the musical delivers an unexpected twist that keeps the audience guessing until the final moments. Detective Hugo Dunnit, played by Sunshine Wirrmann, brought a wonderfully dry, observant energy to the role. Their performance tied the narrative together with a blend of seriousness and satire that suited the tone of the production perfectly. A great piece of work, you all should be incredibly proud of this.

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