Murder by Appointment

No spoilers here!

In PADOS’s charming studio theatre, Murder by Appointment unfolded with a delightful set (congratulations to the team), that immersed the audience in the atmosphere of the 1970s, complete with a carefully curated soundtrack that enhanced the experience. There were audience members humming along with familiarity in the blackouts. The intimate setting allowed for a close connection between the actors and the audience, making each whispered secret and tense confrontation feel immediate and personal, making this play a perfect piece for this group and their venue.

It is hard to know who the “lead” is in this play, but it was pretty clear that the role of David was the eye of the storm as everyone else shifted around his ominous and obvious secret laden presence. Frederick Torrance as David Langford gave a portrayal that was both captivating and nuanced. Torrance brought a palpable tension to the role, embodying David's inner turmoil with some depth. His performance drew the audience in, making us feel the weight of his character's dilemmas and fears.

Matthew Foxcroft, playing David's brother, Charles Langford, injected a dynamic energy into the production. The chemistry between Torrance and Foxcroft was just great, creating a fascinating contrast that heightened the dramatic stakes. Their interplay was a joy to watch, keeping the audience on the edge of their seats as family secrets slowly unravelled. It was fun to hear people’s shift of thoughts about these two characters in the interval and the hushed whispers near the end of the play.

Vicki Wilson shone as Joan Langford, the brothers' mother. Wilson delivered a layered performance that beautifully encapsulated the complexities of motherhood and what it means to be a matriarch, sister and wife too. Her protective instincts and emotional depth ultimately lead her to become the key figure in unravelling the mystery, a twist that added an engaging layer to the narrative.

Stefan Rasmussen as Detective Bradley brought a unique style to the role, delivering lines with a documentary-like realism that grounded his scenes. His matter-of-fact approach made the investigation feel authentic and relatable, drawing the audience into the procedural aspects of the story.

Emily Ring, as Celia Masefield, provided much-needed comic relief, lightening the atmosphere with a delightful charm. Her performance was a refreshing counterbalance to the heavier themes explored in the play and allowed Matthew Foxcroft, the target of her affections (this week) to show his comedic talents too. Rob Livesey as Richard Langford rounds out the cast with a good performance, adding to the familial dynamics that drive the plot forward.

There were some good directorial elements provided by Leon McKenna and it was all coherently placed from a stage geography point of view. The first act felt rather static, but the tension grew beautifully, as did the action in Act 2. (There is an argument for omitting things like cigarette smoking, when it can cause preoccupation of an audiences focus, but this is an opinion only!) This production was a testament to the power of intimate storytelling, leaving the audience not only entertained but also pondering the complexities of family and trust long after the final curtain falls, well done!

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