Murder Village: An Improvised Whodunnit

Murder Village: An Improvised Whodunnit

Enter a world of mystery and intrigue where the classic tales of Agatha Christie come to life in unexpected ways. This thrilling new show is back by popular demand and promises to keep you on the edge of your seat with all new improvised tales of murder and mayhem in response to audience cues.

Each performance is a unique puzzle crafted live before your eyes. It’s up to you to piece together the clues and guess the murderer before the amateur sleuth does. With an ever-changing storyline and an unpredictable cast of characters, this show will keep you guessing until the end.

So, do you want to visit the quaint little post-war English town called Murder Village? It’s open to you and 75 other tourists for an hour every night except Mondays for the next four weeks until April 21 for the duration of the Melbourne International Comedy Festival. Will someone die? Will they have been… um… murdered? With a candlestick or a rope? Will they have been at the centre of an intriguing conflict involving several suspects who all have a motive? Will the detective be assisted by an amateur sleuth who solves the mystery despite the red herring?

I would say probably not a candlestick or a rope (sorry, Cluedo fans) because you and the 75 other tourists will actually get to suggest the weapon in question, and I’m sure you are all much more imaginative than that. Take your phone because if you scan the QR code provided, you can also virtually vote on who the victim and the murderer will be (you have a choice of four) and can suggest the nature of the village event (is it always a fundraiser?) preceding the murder, as well as the clue that the case rests upon.

So, let me tell you a bit about my excursion to the village on opening night. As I climbed the many stairs and entered deeper and higher into the iconic venue, which is the Butterfly Club, for the first time, I found myself waiting alongside the other tourists in a dimly lit narrow lounge filled with knick-knacks, portraits, small flickering TV, mirror – the quirky otherness was the perfect transition from reality to the escapism that is Murder Village. The narrow theatre worked perfectly, with tiers that ensured there were no bad views.

Tonight’s host was Miss Artemis Martin (Louise Fitzhardinge), our shrewd whodunnit novelist (Agatha?) and our MC/narrator/unimaginative police officer was Detective Inspector Owen Gullet (David Massingham). We were introduced to Lady Clarissa Spalding (Candice D’Arcy), an excessively wealthy widow and best friend of Marion Kind (Amanda Buckley), a boisterous wartime entertainer.

Eddy (not Teddy) Brewster (Rik Brown), an Earl of Wooster, has bought the rights to Marion’s songs so that only he will profit whenever she performs, leaving her destitute. His respectable butler, Eames Chair (Rhys Auteri), has tarred feathered himself and picked up broken glass with his bare hands to serve his master. Eddy dies on a serving platter with a sharp edge that accidentally, on purpose, severs his carotid in a hilarious death scene. True to the genre, all three suspects are hiding something, but Artemis’s intellect uncovers Lady Clarissa as the murderer, and we are privy to her confession enacted as a flashback.

The population of Murder Village was 84, but now that Eddy is dead and Lady Clarissa is put away, there are now 82 possible people left to entertain you when you visit. So, the plot will be completely different based on your input. If you are like me, you will be so carried away by the fun energy of the performances you’ll have to remind yourself that the actors didn’t know the details of the plot beforehand – it all just unfolds before them, as it does for us. Musician Terrence Mudwater Junior (Jaron Why) improvised the background music on the keyboard (piano/strings sound). This underscored the action so well without drawing undue attention to itself that I had to remind myself someone was playing.

So, enjoy your excursion to Murder Village! I know I did.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Classic Agatha Christie Whodunnit – The Hollow

Mention Agatha Christie to anyone, and you know you’re in for a classic Whodunnit mystery. With such a prolific author and playwright, there’s the usual expectation of interesting characters, intrigue, murder and the pointing of fingers.

The Genesian Theatre Company presents The Hollow, a play that debuted in 1951 and ran for 11 months in London. The director Molly Haddon, herself a very experienced Agatha Christie actor, has assembled a dynamic cast inside a historic Sydney building, The Genesian Theatre. Built in 1945, the theatre lent itself aptly to this time period with its grand wood ceilings and plush, heavy curtains to host this play.

The Hollow opens with three characters, Lady Lucy Angkatell (Penny Day), her husband Sir Henry Angkatell (Vincent O’Neill), and his cousin Henrietta Angkatell (Jess Davis), in the garden room of a wealthy English country manor, where the play is predominately set. They are hosts to their extended family for a weekend, and we are soon introduced to Dr John Cristow (Chad Traupmann), his wife Gerda (Emily Smith), Midge Harvey (Cariad Weitnauer), Edward Angkatell (Thomas Southwell) and Mrs Gudgeon (Emily Saint Smith) the housekeeper.

Adding to this full house, film starlet Veronica Craye (Alannah Robertson) arrives next door, and it soon becomes clear that love in this family is a tangled mess, and Dr John Cristow is right in the middle of it. Another love triangle is also at play, highlighting the follies of blind adoration.

A shot is fired from an assailant offstage, and we see one character fall to the ground. This scene was acted exceptionally well and was the close of the one-hour first act. The second act, running for one and a half hours, introduced Inspector Colquhoun (also played by Chad Traupmann) and Sergeant Penny (Natalie Reid), who lead an investigation into who committed this crime with a list of suspects forming in the audience’s minds.

Director Molly Haddon immersed the audience in the time period with her set design for The Hollow. It had a genuine 1950s post-war look, with careful touches such as round light switches, period vases, golden photo frames and even a magazine with 1950s film stars on the cover. I loved the painting that hung above the fireplace, which represented Ainswick, a childhood home of the cousins. One scene involving a round-dial telephone and a telephone operator (with appropriate lighting by Cian Byrne) gave us a nostalgic feel. The large floor to ceiling glass doors leading out to the garden provided the room with an open and spacious area which left the actors plenty of room to manoeuvre around the stage.

The costumes by designer Susan Carveth and the actors’ hairstyles were wonderful and reflected upper-class English society. The sound effects were effective and minimal, with the focus being on the music played through the ‘wireless’ – the songs being thoughtfully chosen to match the theme of the scene.

Special mention to Penny Day, whose character Lady Lucy entertained us with her comedic musings with well-delivered timing, Jess Davis with her portrayal of Henrietta, her complexity and depth of character apparent and Thomas Southwell, who played Edward, a meek and mild man with low self-esteem.

The Genesian Theatre is relocating to Rozelle after 70-plus years of entertaining the public with the arts. Go see The Hollow, as it’s one of the last chances to see a live performance in this iconic building.

The Hollow is playing at The Genesian Theatre, 420 Kent St Sydney from 19th Aug – 23rd Sept 2023; Friday and Saturday nights at 7.30 pm and Sunday matinée at 4.30 pm

This review also appears on It’s On The House.

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