Anybody for Murder
It’s that time of year again as the Colin McIntyre Classic Thriller Season returns to the Theatre Royal Nottingham. A staple of the city’s theatrical calendar since its launch in 1988 by actor and producer Colin McIntyre. The season presents a carefully selected trio of detective mysteries and psychological thrillers, performed in weekly rotating repertory throughout the summer. Since McIntyre’s passing in 2011, the tradition has been carried on by Tabs Productions, and it’s wonderful to see this much-loved institution continue.
I was thrilled—excuse the pun—to be back at the Theatre Royal for the opening production in this year’s trilogy. ‘Anybody for Murder’, written by Brian Clemens and Dennis Spooner, is directed by Karen Henson, who also stars as Janet Harrington. This farcical whodunnit promised an evening of humour, mystery, suspense, and intrigue.
The stage curtains remain closed as theatre-goers enter the thankfully air-conditioned auditorium for tonight’s production. As they rise, we’re greeted by a beautifully realised set designed by Sarah Wynne Cordas, who also appears as Susie Stevens. It’s reminiscent of a Mediterranean villa, perhaps in the 1980s. The programme tells us only that the action is set “pre-mobile phone.” There are whitewashed walls, blue window sills, streaming sunlight, vibrant colours, creating an idyllic setting. One could be forgiven for thinking we’ve wandered onto the set of Mamma Mia – and this won’t be the only reference tonight…
Instead, we find ourselves on a small, isolated island off the coast of Greece, home to just a handful of inhabitants. We first meet Max Harrington, John Goodrum, who appears to be an affable, likeable chap as he frolics around the stage. Then, Susie Stevens, played by Sarah Wynne Cordas, arrives drenched, bedraggled, clutching a wig on which a knowing audience immediately fixates on. What on earth is that doing there? And why is it important? With doors aplenty, this audience – clearly well-versed in stage mysteries – knows exactly what’s in store: confusion, misinformation, delicious farce. It isn’t long before we learn that Max and Susie are lovers, and the only obstacle in their path is Max’s unsuspecting wife, Janet Harrington, played by Karen Henson, who discovers very early on that “when she wakes up, she’ll be dead.”
What follows is gloriously heightened, the cast leaning into every trope: scheming husband, oblivious wife, not-so-bright mistress. Then come the complications. Distant relatives Mary Ticklewell, Susan Earnshaw, the wonderfully overbearing wife, and George Ticklewell, David Gilbrook, her delightfully bumbling husband, with the will of a distant relative in contention. The audience almost licks their lips in anticipation, wondering how this tangle can possibly be resolved. Jeremy Lloyd-Thomas completes the core cast as Edgar Chambers, the Harrington’s next-door neighbour and a crime writer whose novels appear on the worst-sellers list – make of that what you will.
The play is almost sitcom in design, laughter arriving at a relentless pace. Clemens and Spooner’s extremely clever script repeatedly circles back to earlier jokes and moments, each callback landing with even greater force. It moves quickly, and is delightfully wordy, and, at times, is downright frantic. More than once, I leaned over to my companion and whispered, “This is absolutely crazy,” but in the very best way. Honestly, I wasn’t expecting to laugh anywhere near as much as I did. Although, by now, I should know that the Colin McIntyre season only serves up the very best!
John Goodrum is fantastic as Max Harrington. His energy feels boundless, his charisma infectious, and he seems to have a solution for every twist and turn. There’s a moment in act one when he finally exits, and I nearly waved him off with relief on his behalf, thinking now he can breathe. He throws himself into the role with such gusto and such commitment that you can only hope he’s having a long drink of water before heading back on. Quite simply, he’s the glue holding it all together, ironically as it all falls apart.
And then we have Karen Henson as Janet Harrington, bringing a mixture of poised composure and wide-eyed disbelief to proceedings. Her timing is sharp, and she grounds the chaos with just enough “normalcy” to let the madness swirl around her. Meanwhile, Sarah Wynn Cordass’s Susie is all flustered nerves and misplaced confidence, leaning gleefully into the archetype of the not-so-bright mistress. Earnshaw’s Mary is just fantastic as the overbearing and bossy wife, while Gilbrook’s George shuffles in her wake, their interplay landing many of the night’s biggest laughs. And then there’s Jeremy Lloyd-Thomas as Edgar Chambers, threading in meta-humour without tipping too far.
The doors, those ever-present farce essentials, work hard tonight. Each entrance and exit is timed with near-mechanical precision yet still feels playful. The audience, ever attuned to the rhythms of a good mystery, delights in the callbacks and running gags. It’s that repetition, set up and pay off, that fuels the evening’s comedy engine, and the cast doesn’t miss a beat. What could have tipped into chaos for its own sake remains tightly controlled, thanks to Henson’s direction, which embraces the play’s inherent silliness while keeping the plot surprisingly clear amidst the madness.
After the mayhem of the first act, the tempo slows as the interval approaches, and here the company really shows its control. The auditorium falls utterly silent. You could hear a pin drop. At one point the stage is empty, and we simply wait. No one breaks the spell. It’s a brave choice, and it works. With the groundwork so neatly laid, Act Two delivers the promised twists. Each surprising yet earned. And though I thoroughly enjoyed the closing interplay, I did find myself wishing for a stronger final line, one last flourish to match the wit we’ve enjoyed all evening. It’s a small quibble in an otherwise very entertaining evening.
‘Anybody for Murder’ is a strong start to what looks to be another terrific thriller season. It runs until Saturday 15th August. Up next is ‘The Nightmare Room’, running 18-22 August, followed by ‘The Man Trap’ from 25-29 August. Remarkably, Karen Henson directs all three – while starring in this one. Quite an achievement.
If ‘Anybody for Murder’ is anything to go by, East Midlands theatre-goers are in for a treat this summer. I, for one, will definitely be back for ‘The Nightmare Room’. Hopefully, I’ll see you there.
