The Business of Murder

The Business of Murder by Richard Harris is a psychological thriller that thrives on tension, subtlety, and the slow, deliberate unravelling of motive. This production embraced those qualities with impressive precision. From the moment the audience entered the traverse auditorium, it was clear that the creative team had invested considerable thought into the staging. The set, split between a fully realised kitchen at one end and a living room space at the other, created a domestic environment that felt both familiar and unsettling. The traverse layout meant that the audience was placed almost uncomfortably close to the action, heightening the sense of claustrophobia and making every shift in tone or gesture feel amplified.

The attention to detail in the staging was exceptional. The kitchen was not merely decorative; it functioned as a real working space, with actors preparing drinks, opening cupboards, and moving through it naturally. This authenticity grounded the play’s early scenes in a sense of normality, which made the later psychological twists all the more effective. The living room, by contrast, felt slightly too neat, too curated, hinting at the meticulous and calculating nature of Stone, the play’s central figure. The contrast between the two spaces subtly reinforced the duality of the narrative: the ordinary versus the sinister.

Despite being a three‑hander, the production never once lost its pace. This is a testament to the strength of the performances and the clarity of the direction. The actors maintained a tight grip on the rhythm of the dialogue, ensuring that the tension remained taut throughout. Even in quieter moments, there was a palpable sense of unease, as though something was always simmering beneath the surface.

Hallet, played by Hugh Everett, delivered a performance full of nuance and emotional layering. Hallet is a character who must balance authority, charm, and a growing sense of vulnerability, and Hugh captured these shifts with impressive control. One particularly effective moment occurred early in Act 1 when Hallet attempted to assert his professional confidence while simultaneously betraying subtle signs of discomfort. The brilliant rattling of coins in his pocket became a recurring motif, adding texture to his performance. It suggested nervous energy, suppressed agitation, and a man who is not nearly as in control as he wants others to believe. This small detail enriched the character and contributed significantly to the psychological tension between the three characters.

Stone, portrayed by Ewan Henderson, was equally compelling. Stone is a character defined by stillness, calculation, and quiet menace, and Ewan embodied these qualities with remarkable restraint. His measured speech, deliberate pacing, and unwavering eye contact created an unsettling presence on stage. One standout moment occurred when Stone calmly recounted a seemingly mundane anecdote while maintaining an unnervingly fixed gaze on Hallet. The audience could feel the power dynamic shift in real time. Ewan’s ability to hold the audience’s attention with minimal movement demonstrated a strong understanding of the character’s psychological dominance.

Dee, played by Alexandra Johnson, brought a contrasting energy to the stage. Her diction and Received Pronunciation were crisp and controlled, giving her character a polished, professional veneer that contrasted sharply with the emotional turmoil beneath. Alexandra excelled in moments where Dee’s composure began to crack. A particularly striking scene occurred when she attempted to maintain her journalistic confidence while Stone subtly undermined her sense of security. Alexandra’s vocal shifts, tightening posture, and flickers of uncertainty made Dee’s unravelling both believable and compelling.

The proxemics throughout the play were exceptionally well directed. The actors’ positioning was never random; every movement, step, or shift in distance carried meaning. At times, Stone would place himself uncomfortably close to Hallet, asserting dominance without raising his voice. In other moments, Dee would retreat toward the kitchen, seeking physical distance as a form of emotional protection. These spatial dynamics heightened the psychological tension and reinforced the shifting power structures between the characters.

Director Charlie Cook deserves significant credit for shaping a production that was both tightly controlled and emotionally charged. Charlie ensured that the tension built gradually, allowing the audience to piece together the narrative without ever feeling spoon‑fed. The pacing was deliberate, the character interactions carefully calibrated, and the overall atmosphere consistently unsettling. Charlie’s direction demonstrated a clear understanding of the play’s psychological intricacies and the importance of subtlety in a thriller of this nature.

One area that could be refined was the scene change early in Act 1. While the production overall maintained strong pacing, this particular transition felt rather lengthy and momentarily detracted from the building tension, although highlighted in the programme. In a play where atmosphere is paramount, even a brief pause can disrupt the momentum. A more streamlined approach to this scene change would help maintain the intensity established in the opening moments.

What stood out throughout the performance was the well‑placed tone and pace of the dialogue. Each character delivered their lines with intention, constantly prompting the audience to question what was happening, who was telling the truth, and what each character’s true motive might be. The dialogue in The Business of Murder is layered with subtext, and this cast handled that complexity with maturity. The shifts in tone from casual conversation to veiled threat, from humour to tension were executed with precision.

Overall, this production of The Business of Murder was a gripping, atmospheric, and well‑crafted piece of theatre. The strong performances, detailed staging, and thoughtful direction combined to create a compelling psychological thriller that kept the audience engaged from start to finish. The cast and creative team should be proud of delivering a production that captured the essence of Richard Harris’s play with intelligence, subtlety, and dramatic flair.

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