Murder At The Theatre

Greenbrook Operatic and Dramatic Society’s production of Murder at the Theatre, directed by Elaine Morris and Sue McDonald, set the tone for an entertaining night of mystery and mischief. The play follows a drama group whose final rehearsal is abruptly halted by a sudden death and a storm that locks them all in, leaving tempers fraying and accusations flying as the truth slowly appears.

The set, designed by Elliot Griffith, Elaine Morris, Sue McDonald and Nathan Prendergast, created a clear and practical playing space. A large sofa sat slightly off‑centre left, with a table and chairs downstage right and an armchair placed on the apron stage left. Steps from the auditorium provided an added entrance and extra playing area. A small table to the right of the sofa was brought forward as the mystery unfolded, forming an impromptu interviewing space with two chairs. Lighting was used effectively to build atmosphere as the storm intensified, and sound remained clear throughout, with cues landing on time and supporting the action without distraction.

Kian Sargeson led the company as Matt Cook; the earnest lead whose world unravels the moment the first death halts rehearsals. Kian gave Matt a likeable, slightly flustered charm, especially as he became convinced the knife was meant for him. His reactions to the escalating chaos were sharply timed, and he carried the role with an energy that kept the audience firmly on his side.

Martyn Green was a delight as Detective Ambrose Abercrombie, a man whose brain often ran three steps behind his mouth. Forever muddling his words, tripping over phrases, and producing accidental word‑play, he turned linguistic confusion into a comic art form. Martyn’s command of copious dialogue was exceptional, long, twisting speeches and tongue‑tangling lines delivered with clarity and mischief. He leaned beautifully into the cheeky innuendo surrounding the name Hiscock, letting the audience enjoy every sly glance without ever overplaying the joke, while keeping Abercrombie’s underlying shrewdness alive.

Helen Ingham brought poise and presence to Amy Lovelace, the lead whose frustration with the collapsing rehearsal process simmered just beneath the surface. Helen balanced glamour with exasperation, giving Amy a sharp wit and a wonderfully theatrical sense of self‑importance.

Olivia Hirst played Sergeant Sasha Sergeant, newly promoted in her real life and stepping into the play‑within‑the‑play as a supporting actor whose fellow cast members have no idea, she is police until the murder brings everything to a halt. Olivia gave Sasha a steady, capable presence, becoming the backbone behind Abercrombie’s more befuddling approach to detection. Her calm manner, clear delivery and composed reactions added a welcome sense of order to the chaos.

Duncan Parkinson delivered a sharply drawn performance as Paul Hiscock, the bossy, manipulative director of the play‑within‑the‑play whose name inevitably prompted a few knowing smiles. Duncan gave Paul a clipped, needling authority, establishing him quickly and clearly before his untimely demise. He also appeared via video phone as the MOD Forensics Officer, adding a clever technical flourish.

Lee Tombling played Anthony Hopkins — not that Anthony Hopkins — with a wonderfully dry authority. As the resident font of knowledge, he dispensed reams of information with professorial calm, his encyclopaedic certainty both useful and quietly amusing as the rest of the cast grew increasingly exasperated.

Helen Pollard was wonderfully dry as Eileen Dover, the long‑suffering scriptwriter whose material was being mangled before her eyes. Quiet, understated and simmering with grievances, she brought a brittle, humorous edge to the role.

Heather Balshaw played Lucy Shepherd, the meek assistant director hopelessly in love with Paul Hiscock. Heather gave Lucy a touching vulnerability, her gentle manner making her eventual demise even more affecting.

Hannah Wellman was sharp and hilarious as Phillipa Tub, the stage manager with attitude. Fierce, organised and utterly done with everyone’s nonsense, she held the rehearsal room together with a mix of authority and exasperated humour.

Michael Dyas delivered a memorable turn as Alexander Gardener, the tight‑fisted theatre owner who charged the cast for drinks even while they were trapped inside during a storm. His comic self‑interest added a delightfully absurd edge to proceedings.

Nathan Prendergast completed the ensemble with a confident, characterful performance, supporting the action with clarity and ensuring even the smaller moments landed with purpose.

It was a genuinely great evening, full of warmth and laughter. The pie and pea supper added to the convivial atmosphere, and the front of house team were, as ever, welcoming, attentive, and full of good humour. Greenbrook Operatic and Dramatic Society delivered a night that celebrated both the joy of performance and the spirit of togetherness, a thoroughly entertaining production enjoyed by all.

 

© NODA CIO. All rights reserved.