Murdered to Death

We arrived at Rixton and Glazebrook Community Hall for our first visit to see Treading the Bored in action, and were greeted by a warm, welcoming atmosphere that immediately set the tone for an enjoyable evening of community theatre. The production of Murdered to Death by Peter Gordon a spoof of the classic Agatha Christie-style murder mystery was staged within a traditional proscenium arch, with a framed set depicting the drawing room of a country house. The set was simple but effective, with period-appropriate furniture and décor that helped establish the setting without overwhelming the space.

The use of overhead microphones was a practical choice given the venue’s acoustics, but unfortunately, there were several moments throughout the evening when dialogue was difficult to hear. This was particularly noticeable during quieter exchanges or when performers turned away from the microphones. However, some cast members managed to overcome this challenge with strong vocal projection, which helped maintain the momentum of the play.

One standout in this regard was Phil Ratcliffe as Colonel Charles Craddock. His vocal clarity and projection were excellent, and he carried his voice across the auditorium with ease. More importantly, his characterisation was consistent and engaging throughout. Ratcliffe brought a delightful blend of pomp and eccentricity to the role, capturing the Colonel’s bluster and confusion with great comedic timing. His presence on stage was commanding, and he clearly understood the rhythm and tone required for farce.

Emma Rostaing also impressed as Elizabeth Hartley-Trumpington. Her projection was reliable, and she delivered her lines with crisp diction and a confident stage presence. Rostaing’s portrayal of the aristocratic guest was suitably exaggerated, yet never overplayed, striking a nice balance between caricature and believability. Her reactions and timing added to the humour of the piece, and she was a consistent source of energy throughout the performance.

Steve Coops took on the role of Pierre Marceau, the French art dealer. While his physicality and comedic instincts were evident, I did struggle with the clarity of his French accent. At times, the accent obscured the dialogue, making it difficult to follow some of his lines. With a little more refinement and consistency, this could become a more effective characterisation, as the role itself offers plenty of opportunity for comic flair. Pat Robinson played Miss Maple, the amateur sleuth clearly inspired by Miss Marple. Her characterisation was solid, and she brought a calm, observant presence to the stage. While her delivery was generally clear, a touch more dynamism in her reactions could have elevated the role further, especially during the more chaotic moments of the plot.

Liliane Taylor portrayed Mildred Bagshot with a steady hand. Her performance was understated but effective, and she contributed to the ensemble with quiet confidence. Laurence Harrison as Bunting the Butler was a particular delight his dry humour and deadpan delivery were spot-on, and he made the most of his moments on stage. His timing was excellent, and he added a layer of subtle comedy that complemented the broader farcical elements.

Lesley-Ann Bleasdale played Margaret Craddock, and while her role was smaller, she brought a believable presence to the stage and supported the ensemble well. Her reactions and interactions helped flesh out the world of the play, and she contributed to the overall cohesion of the cast.

There were a few moments of prompting in the final scene, which slightly disrupted the flow during a pivotal section of the play. While understandable in amateur productions, especially with complex dialogue and timing, it did momentarily break the immersion. That said, the cast recovered quickly and maintained their focus, which is commendable.

Murdered to Death relies heavily on precise comedic timing and farcical misadventures. At times, I felt this was slightly underplayed, with some opportunities for heightened physical comedy or sharper pacing missed. However, Paul Devenish as Inspector Pratt did a commendable job of anchoring the farce. His portrayal of the bumbling detective was full of energy and commitment, and he embraced the absurdity of the role with gusto. Devenish’s comedic instincts were strong, and he worked hard to generate laughs and keep the audience engaged.

Technically, the production faced some challenges. Lighting was a particular issue when performers stepped too far forward, they were often lost in shadow. This affected visibility and occasionally pulled focus away from key moments. Given the limitations of the venue, the Society may wish to explore ways to extend their lighting coverage or adjust blocking to ensure performers remain well-lit throughout. Even small changes in positioning could make a significant difference in maintaining visual clarity.

Overall, Treading the Bored delivered a spirited and enjoyable evening of theatre. While there were areas that could benefit from refinement particularly in sound and lighting, the cast’s enthusiasm and commitment were evident. The production captured the essence of Peter Gordon’s playful script, and the audience responded warmly to the humour and charm of the performance. It’s always a pleasure to see local theatre groups bringing classic comedies to life, and I look forward to seeing what Treading the Bored tackle next.

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