The Murder Room

This play was billed as a spoof and a spoof it certainly was. The appearance of Edgar Hollister, in an obvious wig and moustache, together with the over-the-top accents and stylised acting set the scene and informed the audience what sort of evening we were about to enjoy. The opening dialogue, between Edgar and Mavis was quick-fire and delivered in a witty and intelligent manner, entirely appropriate to the period and the genre. Unfortunately the scene was very static, with the two actors barely moving from their respective sides of the stage for a very long period, until the murder.  This took place behind the sofa, and whilst we could see what was happening, it might have been better placed further downstage in full view, as it represented the first real action of the play.

The front curtains were closed at the end of the scene, and a scene change was made behind them, accompanied by appropriate music ('Who's sorry now'). This was repeated on several occasions (at the end of each scene) and I wonder if this was always necessary as there did not always seem to be any changes made to the set. It would perhaps be an interesting exercise in a play of this type, to try out different ways of making scene changes, rather than to rely always on curtains (especially when there are no half tabs).

The plot continued with the introduction of new characters. It is to the credit of all the actors that for the most part they played their parts with total belief, despite the absurdities of the plot and the style of acting required of them. Occasionally I felt that actors were playing for laughs, rather than playing straight, and there were a few occasions when actors' faces rather gave away the fact that they knew what they had just said was absurd whereas, in fact, to the characters the situation has to remain very real and serious.

This play requires the set to have some moving parts: the window seat, desk and picture. These had been constructed well and all worked on cue. My only reservations were that he picture did not look weighty enough to knock out Mavis, and the way the window seat knocked the Inspector over did not seem entirely natural; also it was a shame that it was not very visible at the back of the room behind the sofa. However, the window seat was used in such a way as to make us believe it led to the cellar.

Lighting was appropriate, with a clear distinction between day and evening. The sound effects were not entirely convincing, with the same effect used for both the cat and a person falling down the stairs, and the dropped tea service sounding more like glass. Also, these sounds came from the opposite side of the stage to where the action was happening. The sound effects were, however, well cued. Costumes were excellent, with some lovely 50s style dresses, complete with petticoats, for the ladies. Edgar's smoking jacket was also good, but the Constable's uniform looked a little modern. Hair and make up seemed appropriate.

There were some really nice moments, including Lottie and Barry's embarrassment after their spontaneous hug and the nicely synchronised hands in the air when confronted by the gun in the final scene. The stuffed 'dead' cat was very funny. Susan's hiding in front of the sofa was not very  convincing, as the Inspector could clearly see her; perhaps a better hiding place could have been found? The final madcap scene with 'Get the gun, get the lights' sequence was timed well with some interesting and humorous tableaux when the lights were switched on. Edgar's eventual murder in the final scene was nicely done, and brought the play to a satisfying and crowd-pleasing end.

© NODA CIO. All rights reserved.