York Theatre Royal – until Saturday 25th October 2025
Reviewed by Michelle Richardson
3***
Torben Betts’ Murder at Midnight, is the latest production, by Original Theatre, playing at York Theatre Royal. Directed by Philips Franks, this is a follow-up to the successful Murder in the Dark production. Billed as murder mystery with a difference, a twisted crime caper like no other, full of twists, suspense and dark comedic humour.
It’s the early hours of New Year’s Day, the setting is a house in a quiet corner of Kent. Police and a forensic team are at the scene of a murder, or I should say several murders, with multiple weapons scattered around. Who are the victims, and how they came to their grizzly ends, is the big question. A classic whodunnit, or is it?. As the scene ends we are transported to the day before to discover how the events came to pass.
We learn that the house is occupied by Jonny the Cyclops (Jason Durr), a one-eyed drug dealer, pig farmer and notorious gangster, his elderly, befuddled mother, Shirley (Susie Blake) and his younger girlfriend Lisa (Katie McGlynn).
Jonny is away on business, Shirley has been left alone with her carer Cristina (Iryna Poplavska), and Lisa, supposedly ill in bed, is out at a party. Jonny unexpectantly arrives home early, intending to surprise Lisa with a proposal of marriage. Whilst Jonny is in his office with one of his gofers, Trainwreck (Peter Moreton), Lisa returns home with Paul (Max Bowden) in tow. Unbeknownst to her he is an undercover police officer, somewhat inept, trying to gain information about the disappearance of Jonny’s wife Alex five years ago. The situation escalates when Mr Fish (Callum Balmforth), breaks in, hoping to rob Jonny to pay off dangerous debts, unaware he is targeting “Jonny the Cyclops.”
Durr’s Jonny exudes cockney swagger, a ruthless edge, and a clear obsession with Robbie Williams. His office is adorned by numerous posters, even all of his seven dogs are named after Robbie and his music. Blake plays his mother with sharp wit, delivering memorable one-liners. The dynamic between Bowden’s bumbling policeman and the self-absorbed Lisa adds farcical humour throughout. Moreton’s Trainwreck is quite endearing as the drug addicted seasoned criminal, with a sensitive side.
The play is a fast-paced, often frantic, farce, with characters weaving through the house as their stories unfold. This is enhanced by Colin Falconer’s multi-level set, giving us a view into multiple rooms. This can be confusing when scenes happen simultaneously. The quick action sometimes made it hard to follow, leaving me unsure if I missed important moments.
Featuring unexpected murders, this lighthearted play is packed with twists for an entertaining night at the theatre.