The Murder Room

Jack Sharkey’s The Murder Room is a sharp-witted and delightfully absurd farce that thrives on its fast-paced comedic timing, clever dialogue, and unexpected plot twists. This particular production effectively maximised its performance space and utilised a range of theatrical techniques that brought the humour and intrigue to life in a truly engaging manner.

One of the most striking aspects of the staging was the audience positioning on either side, which created a more immersive experience and added an intimate element to the production. This setup ensured that all audience members remained fully involved in the unfolding events, heightening their connection to the drama while maintaining excellent visibility of all action on stage. The production team’s attention to spacing and proxemics was superb, as the actors utilised every corner of the space strategically, ensuring that both sections of the audience were engaged with the story at all times.

The choice of living room attire grounded the performance in realism, reinforcing the domestic setting I always like it when a Society pays particular attention to the smaller details of setting on stage. Entrances and exits were executed smoothly, with movement flowing naturally to mimic the authenticity of a household setting. This helped maintain the illusion of realism while ensuring the comedic farce played out effortlessly without feeling contrived. I must say that sometimes entrances and exits by directors are not always well realised but Charlie Cook, the director, certainly did a grand job of ensuring these were executed well.

At the beginning Mavis arrives home to be greeted by Edgar unbeknown to the audience where she has been. We are witnessed to an array of cleverly and well performed probing questions by Edgar, masterfully played by Dominic Keefe. This perfectly paced moment successfully intrigued the audience, pulling them deeper into the narrative’s mystery and humour. These moments of direct engagement heightened the audience’s investment in the plot, making the absurd twists and turns even more enjoyable.

The chemistry between Mavis, played by Carys Jones, and Edgar was undeniable, with excellent pacing that maintained momentum and comedic energy throughout their exchanges. Mavis’ delivery of dialogue was crisp, with RP that was effectively utilised without feeling exaggerated. This balance ensured the performance felt natural while still carrying the distinct theatricality required for a farcical production.

One of the standout performances came from Lottie Molly, played by Kathryn Fennell, who was the housekeeper. Kathryn performed with remarkable consistency in her Irish accent, ensuring it remained authentic and unwavering throughout the show. Accents can often falter during lengthy performances, but her ability to sustain the dialect added depth to the characterisation and realism to the household dynamic.

Comedy was another major strength of this production, and Mavis particularly shone with her impeccable timing in the shooting section, delivering moments of unexpected hilarity that kept the audience thoroughly entertained. The interplay between Mavis and Susan, played by Abby Cross, was another highlight, with their sharply delivered ‘hateful’ conversations showcasing a strong grasp of wit and dialogue timing. Their exchanges demonstrated a keen understanding of comedic rhythm, making their verbal sparring an absolute delight to watch.

The use of performance space was superb, ensuring that every corner of the stage was utilised effectively to amplify both dramatic and comedic beats, effectively well-lit by Bruce Williams. By considering the audience’s perspective from all angles, the production team maintained an engaging and visually dynamic staging that avoided any stagnant moments.

Overall, this production of The Murder Room successfully captured the comedic brilliance of Jack Sharkey’s play, delivering a well-executed performance that balanced mystery, humour, and immersive storytelling. The careful attention to pacing, dialogue, staging, and characterisation ensured that audiences were fully absorbed from start to finish.

A thoroughly enjoyable afternoon of theatre, filled with sharp wit, clever staging, and outstanding comedic execution. Thank you once again Wilmslow Green Room for your warm welcome and hospitality, I look forward to seeing you all soon.

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