The Sound of Murder

The Hoghton Players delivered a confident and atmospheric production of William Fairchild’s The Sound of Murder, a taut psychological thriller first staged in 1959. The play centres on Charles Norbury, a successful children’s author whose public charm hides a deeply unpleasant private life. His wife Anne, denied affection and the family she longs for, has turned to another man, and together they begin to imagine a future without Charles. Their whispered plan is accidentally captured on a tape recorder, overheard by a third party, and from there the story twists into increasingly dangerous territory.

Director Paul R. Mason made the decision to stage the production in the round, and it proved highly effective. The audience were drawn uncomfortably close to the disintegration of the Norburys’ marriage, placed inside the room with them. This proximity created a sense of entrapment that echoed Anne’s emotional confinement, and Paul shaped the tension with restraint, allowing the nastier edges of the relationship to surface without melodrama. The result was an immersive, tightly controlled evening where the audience felt like unwilling witnesses to a private domestic battleground.

Set design and construction by Paul Santus and his team made an immediate visual impact. The usual performance area at Hoghton Village Hall had been partially enclosed by a large wall, dominated by a large, printed bookcase that rooted the action firmly in Charles’s literary world. A curtained window and practical exit door completed the sense of a real, claustrophobic room. Within the round, the space was dressed with era‑appropriate furniture, desks, chairs, a settee, coat stand, drinks table, and a wonderfully authentic tape recorder. The props team added playful touches with rabbits appearing in pictures, books, soft toys and even Charles’s tie, all nodding to his profession. Though the space was full, it never felt cluttered; instead, the density of objects enhanced the encroaching atmosphere. Stage management and props were handled with assurance by Stuart Lockhart. With so many items in play and such close audience proximity, precision was essential, and Stuart ensured everything remained consistent and unobtrusive.

Sound design by Andrew Freeman contributed significantly to the mood. Rain, the crunch of gravel, outside conversations, phone rings and the crucial tape‑recorded passages were all delivered cleanly and confidently. These effects expanded the world beyond the set and deepened the tension without ever distracting from the action.

Lighting design by Steve Boult created a moody, oppressive atmosphere with a distinctly film‑noir quality. Shadows and half‑lit faces added to the sense of foreboding, reinforcing the production’s themes of secrecy and moral darkness.

Costumes and makeup by Millie Santus were entirely era‑proper and supported the characters well. Anne’s understated elegance contrasted neatly with Charles’s more assertive style, and makeup remained naturalistic, allowing the close‑quarters staging to do its work.

Martyn Pugh delivered a formidable performance as Charles Norbury. His aloofness, condescension and quiet menace were chilling, and he allowed the character’s cruelty to seep through in the smallest gestures. It was a controlled, unsettling portrayal that anchored the darker side of the play.

As Ann Norbury, Rana Shihadah offered a beautifully restrained performance. Her quiet composure and suffering‑in‑silence approach made Anne’s desperation for escape entirely believable. The coldness she showed toward Charles contrasted movingly with the warmth she shared with Peter, giving the audience a clear sense of the life she longed for.

Dom Allen gave a thoughtful performance as Peter Marriott, balancing affection, fear, and moral conflict with clarity. His final moment, twisting Charles’s tie around his hands as he moved toward the exit, was superbly judged, a chilling image of a gentle man pushed beyond his limits.

Rachel Allen was a delight as Miss Forbes, charting a clear transformation from frumpy, overlooked secretary to a more confident and glamorous figure. Her timing and composure added an enjoyable layer to the character’s journey.

John Andrew brought calm authority to Inspector Davidson, grounding the final act with measured delivery and steady presence. Aneta Paruk, as Detective Nash, added brisk energy and professional clarity, helping to tighten the pace as the investigation unfolded.

This was a strong, well‑considered production from The Hoghton Players, marked by thoughtful direction, detailed design work, and committed performances. The in‑the‑round staging created an immersive experience that served the play exceptionally well, and the company delivered a tense, atmospheric evening of theatre that I thoroughly enjoyed.

 

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