Murder on the Overnight Express

Greenbrook Methodist Amateur Operatic Society’s latest production, Murder on the Overnight Express, was a delight from start to finish. With a real sense of community and a confident blend of mystery and comedy, the show kept the audience engaged and entertained throughout. From the opening moments to the final curtain, it was clear that care, creativity, and camaraderie had shaped every aspect of the evening.

The story follows a group of travellers whose overnight train is forced to stop at an old, dilapidated station after a murder is discovered on board. Secrets are revealed, identities questioned, and tensions rise as Inspector Plunkett tries to unravel the truth. Producers Sue McDonald and Elaine Morris steered the production with care and clarity, ensuring a cohesive and entertaining evening.

Lighting and sound were well-managed throughout, supporting shifts in mood and location with subtle precision. The stage was dressed in evocative detail, broken signage, tattered posters, cobwebbed corners, all conjuring a station long past its prime. The faded grandeur suggested stories left behind, and the sense of disrepair added texture and context to the mystery. Huge credit to the tech crew: Nathan Prendergast, Sue McDonald, Elliot Griffiths, Lee Tombling, and Elaine Morris, whose behind-the-scenes work ensured the production’s visual and auditory elements remained cohesive and effective throughout.

Costumes by Sandra Caterall and Carol Witt added character and period charm. The inspector’s trilby and sharp suit gave him an officious air, while the maid’s crisp black-and-white uniform was suitably prim. Lady Brigg’s fur stole and striking grey wig lent her a touch of faded grandeur, and the Brigadier’s tweed ensemble, complete with puttees holding his socks at the ankles, was a delightful nod to military eccentricity. The train station manager and chef were both well turned out, grounding the setting in everyday realism. The actress glittered in her gown, bringing a flash of theatrical glamour to the ensemble. Wardrobe choices throughout supported characterisation and added texture to the visual storytelling.

Michael Dyas brought a dry wit to Inspector Plunket, delivering weary one-liners and understated retorts that consistently drew laughter. His confident handling of a dialogue-heavy role was commendable, and he used the stage well, anchoring the mystery with sardonic charm.

Martyn Green gave a compelling performance as Welsh station master William Williams, quietly professional on the surface but simmering with resentment and secrets. His understated delivery allowed tension to build naturally, and his eventual revelations were all the more impactful.

Nathan Prendergast took on Lady Brigg with gusto, delivering a performance full of upper-crust flair and comic precision. His clipped delivery, bossy charm, and exaggerated entitlement made Lady Brigg jolly funny and consistently entertaining, an eccentric matriarch who stole every scene.

Lee Tombling was delightfully silly as Brigadier Ffinch-Fortesque, the bumbling aristocrat dodging his formidable wife and rambling with upper-crust nonsense. His physical comedy and timing were spot-on, making the Brigadier a lovable source of chaos.

Heather Balshaw gave a charmingly fragile performance as Wee Jeanie McMumble, bursting into tears and running off whenever questioned. Her Scottish lilt, woven through sobs and sniffles, brought warmth and authenticity to the role, and her flustered retreats were well-judged and funny.

Patrick McCaan brought sly charm to Alphonse Le Chevalier, the flamboyant chef whose exaggerated French accent soon gave way to the truth, an English conman in disguise. His transformation was handled with comic finesse, and his timing added to the deception.

Olivia Hurst was strong and confident as Brenda Grubley, a murder mystery enthusiast with attitude and a clear dislike for the deceased. Her crisp delivery and knowing presence added bite to the interrogation scenes.

Julie Cummings brought elegance and flair to American actor Dolores Delgado, gliding across the stage with poise and theatrical confidence. Every swish of her gown reinforced Dolores’s star quality, and her balance of charm and mystery made her a captivating presence.

The front-of-house team were warm and welcoming, setting the tone for an evening rooted in community spirit and shared enjoyment. From greeting guests to serving refreshments, their friendly presence helped make the event feel inclusive and relaxed. The pie and pea supper at the end of Act One was a hearty highlight, and the tea and cakes following Act Two added a sweet finish to the night. The third act wound up the evening with satisfying clarity, as the killer was finally revealed and loose ends were neatly tied. With such a keen sense of togetherness both on and off stage, Greenbrook Methodist Amateur Operatic Society continues to be a cherished part of the local arts scene. Thank you all for the hospitality throughout the evening, I look forward to many more shows from this society in the future.

 

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