The Mill at Sonning – until 15 August 2026
Reviewed by Marcia Spiers
4****
Brilliantly Bonkers!
Written by Paul Portner and directed by Sally Hughes, Shear Madness is a wonderfully distinctive play that has more than stood the test of time. First written in Germany in 1963 as an experiment in audience participation, it has since become a long-running international success, with a Boston production opening in 1980 and continuing for decades. Its enduring appeal lies in the fact that no two performances are quite the same: the show continually evolves, weaving in local references, current events, music and topical jokes so that each audience feels part of something fresh and immediate.
All the action takes place in a hairdressing salon, a setting that works brilliantly on The Mill’s intimate stage. The funky pink-and-green set, complete with matching aprons, gives the production a bright, modern feel. At heart, this is a comedy with a murder-mystery twist: someone is killed, everyone is a suspect, and the audience is invited to question the characters, remember the clues and ultimately decide who is responsible. It means we must pay attention — I could have done better on that front! — while the cast must stay razor-sharp, thinking on their feet while never losing sight of the plot.
Daniel Cane gives an excellent performance as salon owner Tony Whitcomb, creating mischief and mayhem with effortless comic energy. The production is packed with sharp jokes, innuendo and physical comedy, all landing to plenty of laughter. Rosaleen Burton shines as Tony’s glamorous, flirtatious assistant Barbara McMarley, who has her eye on one of the clients, the suave Edward Lawrence, played by Jonathan Markwood. Natalie Ogle is on fine form as regular client Mrs Shubert, desperate to get her hair done and head off on holiday. Then there are the undercover stooges, Gwithian Evans (Mike Thomas) and Paul O’Neill (Nick O’Brien), who take charge once the body is discovered. Both give strong performances, with O’Brien particularly adept at steering the investigation and keeping the audience interaction lively.
As you can imagine, there is a great deal happening all at once. The pacey dialogue and energetic physical comedy demand excellent timing, while the whodunnit section relies on the cast’s ability to improvise, adapt and respond to wherever the audience takes them. The best news is that I cannot tell you who did it — because next time, it may be someone else entirely. That is exactly why Shear Madness remains so successful: it is inventive, playful and great fun. If you fancy an evening of intrigue, chaos and laugh-out-loud comedy, this is one mystery well worth booking before the trail goes cold.