Sitting in a hospital waiting room and asked what brought him there, Ryan tells his story to the audience in an intense and emotional monologue. Touring after a successful Edinburgh run, Stephen Leach’s play is fizzing with energy thanks to a brilliant performance from Zach Hawkins.
Ryan is 19 and followed his more successful brother to London. Ben is and accountant and Ryan works for Deliveroo. When he hears that Ben and his fiancée are leaving the city, Ryan realises that there has never really been anything in London for him but must stay to the end of his contract in an awful-sounding flat that he has no hope of subletting.
Cocksure and brash at the beginning of the piece, Leach’s writing cleverly unpicks Ryan’s character as he reveals episodes from his past. Proudly bisexual, he often checks Grindr to see if anyone is nearby and is fed up with older gay men telling him it’s just a phase. When he meets Richard, a business associate of his brother, Ryan thinks he can get some free meals out of the older man, but things eventually take a dark turn.
Under Stephen Leach and Mimi Collins’ intuitive direction, Hawkins hardly ever stands still throughout the production, and when he does, his eyes rake the audience, making contact and drawing you further into Ryan’s life. Hawkins shifting body language as Ryan does impressions of Richard and, cattily, Ben’s girlfriend is wonderful – you can feel the contempt oozing through every pore. When a dark truth about Ryan’s past is mentioned, Hawkins’ face glazes over for a second, and then physically shrugs it off. A picture of a lost and lonely young man hiding behind a mask of bravado and jokes is built, and Ryan’s recollection of a brief Christmas visit to his mother’s house raises a parade of red flags about his father’s relationship with Ben, possibly Ben’s relationship with Ryan, and makes Ryan’s need for rough physical intimacy and older men more tragic.
Joining the toughest gang of bullies kept Ryan safe at school, but being in London makes him realise that only he can keep himself safe – and the play ends with Ryan hopeful and ready to start afresh anywhere but London.
A powerful and smartly written play with a powerhouse performance.
Australian dance company Chunky Move bring their acclaimed 4/4 to Europe on a six-city tour. Described as “Chunky Move’s blueprint for choreographic precision, physical endurance, minimalist design and rugged street aesthetics,” this is a memorable and fascinating dance performance.
Antony Hamilton has created a mesmerising fusion of krumping, freestyle hip-hop and contemporary. Choreographed with the performers (Mason Kelly, Melissa Pham, David Prakash, Harrison Ritchie-Jones, Aimee Schollum, Michaela Tancheff, Nikki Tarling and Jayden Wall) the production is both mechanical and organic.
The 8 dancers initially perform in groups of 4 on low platforms, creating repetitive and mechanical imagery with astonishing precision and synchronicity. As the performance develops, more platforms are introduced and wheeled around the stage as dancers perform in pairs or larger groups – always with a precision and sharpness that doesn’t flag over the 60 minutes. The choreography accounts for the needs of even these superhuman performers, with movement and pace gradually slowing and becoming more trancelike as the platforms are slowly spun around the stage and tableaus are formed. The jaw dropping stamina and skill of the performers as they create the almost hypnotic continuous movement on stage is complimented by Bosco Shaw’s wonderfully stark lighting design. Paula Levis’s sleek urban costumes add to bleak otherworldly atmosphere and Alisdair Macindoe’s trickily layered sound design shifts between pulsing upbeat energy and a percussion class for 5-year-olds in a wonderfully effective way that means the audience is never quite at ease, demanding stamina from the audience as well as the performers.
Chunky Move: 4/4 2024 International Tour continues: Les Halles de Schaerbeek, Brussels 15–16 November 2024 Dansens Hus, Oslo 22–24 November 2024 PLT Theater – Heerlen RABOzaal 3 December 2024 Teatro Municipal do Porto, Porto 6–7 December 2024 Grand Théâtre de la Ville de Luxembourg, Luxembourg 10–11 December 2024
Barton Village Institute – Saturday 9 November 2024
5*****
it is always a joy to watch the Gang Show at 1st Barton Scouts. You are guaranteed an excellent show.
And what a show it was! Packed full of dancing, acting and comedy. From the very youngest 4 year old up to the very dedicated leaders this was full of fun. The young people had learnt a lot of choreography and showed off their skills with aplomb. The Barbie segment was a personal favourite that had me crying with laughter.
A lot of hard work went into this show, not just the epic performances but behind the scenes too with the costumes, music, staging, fabulous props and the previously mentioned choreography
You’ve missed your chance to see Barton’s Gang Show this year but please support Scouting in your local area and watch out for Barton’s next show too
Northern Ballet’s A Christmas Carol is an enchanting adaptation of Charles Dickens’ classic novella, reimagined through the medium of dance. Directed and designed by Christopher Gable CBE, this seasonal production has established itself as a beloved festive tradition, with a captivating blend of storytelling, evocative choreography by Massimo Moricone, and an exciting score that brings the well-known tale of Ebenezer Scrooge to life.
The ballet’s structure is faithful to the original story, with the key scenes of Scrooge’s transformation portrayed through vivid and spectacular dance sequences. The Ghosts of Christmas Past, Present, and Yet to Come are particularly striking, with each spirit presented as a distinct, visually distinct entity, their movement and costumes effectively capturing their otherworldly qualities.
The cast is a well-oiled machine, with each dancer bringing their character to life through both their physicality and expression. Scrooge is often the focal point of the ballet, and the role demands a performer with immense technical skill and emotional depth. Scrooge’s transition from miserly isolation to joyous redemption is beautifully executed through the dancer’s nuanced portrayal, supported by the changes in his physicality as he ages throughout the piece.
Supporting roles, like Tiny Tim, Bob Cratchit, and Scrooge’s former love, Belle, are just as compelling and the Fezziwig’s provided much delight and laughter. These characters help reinforce the themes of compassion, family, and the need for personal growth. The Cratchit family’s joyful, tender moments together contrast starkly with Scrooge’s cold, lonely existence, enhancing the emotional weight of the piece and a few tears were shed over Tiny Tim’s untimely demise.
The set design by Lez Brotherston creates a perfect atmosphere of Victorian London, with its swirling fog, icy streets, and sumptuous interiors that feel both expansive and intimate. The backdrop, when combined with atmospheric lighting, ensures the tone shifts seamlessly from the grim reality of Scrooge’s world to the fantastical realms of the Christmas spirits. The ghostly apparitions are brought to life through intricate costumes and dramatic lighting, with the transformation of Scrooge’s surroundings adding an extra layer of magic to the production.
The music score, was a recording courtesy of the Royal New Zealand Ballet. Recorded by Orchestra Wellington in 2014 at the St James Theatre, Wellington, New Zealand and conducted by Nigel Gaynor, is an integral part of the experience. The music mirrors the emotional beats of the story, swelling with orchestral grandeur during the scenes of transformation and quieting for more sombre moments.
Northern Ballet’s A Christmas Carol is a beautiful, moving, and highly accessible for all the family. This version of Dickens’ beloved story, is perfect for all ages and ballet enthusiasts alike. Through engaging choreography and strong performances, it succeeds in encapsulating the heart of Dickens’ moral fable while providing the spectacle of a traditional Christmas ballet. It is a production that reminds audiences of the power of kindness, redemption, and the joy of giving, making it a perfect treat for the festive season.
If you’re looking for a ballet that combines classic storytelling with a festive atmosphere, this production is not to be missed.
Charing Cross Theatre, London – until 17th November 2024
Reviewed by Celia Armand Smith
4****
I will preface this review by saying that I saw Barbra & Liza Live! on 6th November when the news cycle was working overtime and people everywhere had a lot of opinions about a lot of things. Before the show started we were sitting in the bar and over the PA system Barbra and Liza told us that the show was starting in 15 minutes and I knew instantly that this was going to be the perfect tonic following the events of the day. A joyous night of show tunes, classic hits, sequins, and laughter.
The set list is extensive and includes classics from both Liza and Barbra’s time on stage and screen. There is an amazing new (and surprising) take on ‘Single Ladies’ by Beyoncé, and a madcap ‘Feed the Birds’ performed by Liza (Rick Skye) a whirlwind of fantastic impressions from Barbra (Steven Brinberg) whilst singing ‘I’m Still Here’. We get treated to Carol Channing and Gillian Anderson as Margaret Thatcher to name but a few. Steven Brinberg’s Barbra is uncanny; the singing voice is spot on and so are the delicate hand gestures and grace. The duet with Anthony Newley and Barbra performed entirely by Brinberg is a masterclass in impersonations. Rick Skye is fab as the chaotic Liza, belting out songs new and old, and constantly reaching out to an avoidant Barbra. Accompanying them is Nathan Martin on piano and he is a brilliant constant throughout. Between two of the numbers in Act 2 they introduce Peggy Lee (Chuck Sweeney) who sings ‘Fever’, and to be honest I haven’t laughed so much in a theatre in ages.
Is this a show for young people? Some would say not but then Liza and Barbra have cult status and there were definitely some young millennials (as opposed to us geriatric millennials) who were honking with laughter along with us. If you love musical theatre, a mad Hollywood story, or a silly song, then this show is for you. The impressions are filled with heart and although the stories are ridiculous (and true) there is no malice. You can also see that there is a tremendous bond between the performers when they are both on stage.
There were some technical difficulties with the sound, however Barbra & Liza Live! is just what we all need to give us a bit of a lift as we descend into the darkening days of November. My face hurt from smiling long after I left the theatre.
Michael Harrison in association with Cameron Mackintosh is delighted to present a new touring production of the global stage sensation, MISS SAIGON, as Boublil and Schönberg’s legendary musical is reborn. This epic production will open at the Newcastle Theatre Royal where it plays from Saturday 4 – Saturday 25 October 2025. This year marks 35 years since MISS SAIGON made its West End premiere.
The tour goes on to visit the Playhouse Theatre, Edinburgh (Tuesday 28 October – Saturday 1 November 2025); Palace Theatre, Manchester (Tuesday 4 – Saturday 15 November 2025); The Alexandra, Birmingham (Tuesday 18 – Saturday 29 November 2025); Grand Theatre,Leeds (Tuesday 2 – Saturday 13 December 2025) and New Theatre, Oxford (Tuesday 16 December 2025 – Saturday 3 January 2026).
Further dates, full casting and production team are to be announced.Sign-up for news and access to priority booking at miss-saigon.com.
In the last days of the Vietnam War, 17-year-old Kim is forced to work in a Saigon bar run by a notorious character known as The Engineer. There she meets and falls in love with an American GI named Chris, but they are torn apart by the fall of Saigon. For 3 years Kim goes on an epic journey of survival to find her way back to Chris, who has no idea he’s fathered a son.
Of the new revival, Cameron Mackintosh comments:
“35 years after Boublil and Schönberg’s legendary musical MISS SAIGON first opened to international success, I am delighted that this powerful heart-wrenching love story has remained timeless around the world. The story of two young people – an American soldier and a Vietnamese girl – who fall in love as their lives are torn apart by war, ultimately causing a mother to sacrifice her life for her child, has become a worldwide hit, as well as one of the most popular musicals ever in Asian countries, with separate companies regularly playing in Korea, Japan, the Philippines and Singapore.
The recent hugely successful Sheffield Crucible production took a contemporary look at this great musical and that inspired producer Michael Harrison and I to also take a fresh look at MISS SAIGON and create a modern version that can play many theatres that the original was unable to do.
Directing this exciting new production is Jean-Pierre van der Spuy, who recently directed the acclaimed Australian Opera production of MISS SAIGON and with Matthew Bourne is co-directing my hugely successful new production of Oliver! in the West End. Like the phoenix that is so central to the show’s story MISS SAIGON will rise again next year – a legend reborn”
Michael Harrison continues “It is thrilling to be collaborating with Cameron on a brand-new production of Miss Saigon. Millions of people around the world have been moved by its riveting story, messages of family and enduring love, and by Boublil and Schönberg’s majestic score. I am delighted that we can now bring this story to audiences throughout the country in a brilliant and modern production.”
Since its London premiere in 1989, Cameron Mackintosh’s original production of Alain Boublil and Claude-Michel Schönberg’s epic musical MISS SAIGON became one of the most successful musicals in history. The original Broadway production of MISS SAIGON opened on April 11, 1991, and played for nearly ten years with its 4,097 performances attended by more than 6.3 million people. Cameron’s latest London production of MISS SAIGON opened in London in May 2014 to record-breaking advance sales and critical acclaim, followed by a UK tour in 2017. During this run, in 2016, the spectacular 25th Anniversary Gala Performance of this timeless musical, featuring appearances by the original cast, including Jonathan Pryce and Lea Salonga, took place and was filmed for television and cinema and continues to be shown around the world.
MISS SAIGON has been performed in 33 countries, 378 cities in 15 different languages, has won 75 major awards including 2 Olivier Awards, 3 Tony Awards, and 4 Drama Desk Awards and has been seen by over 38 million people worldwide.
MISS SAIGON has music by Claude-Michel Schönberg with lyrics by Richard Maltby Jr. and Alain Boublil, adapted from original French lyrics by Alain Boublil, with additional lyrics by Michael Mahler. Jean-Pierre van der Spuy directs this production.
MISS SAIGON is produced by Michael Harrison in association with Cameron Mackintosh.
WhatsOnStage today announces that nominations are now open for the 25th Annual WhatsOnStage Awards, the only major theatre awards decided by the theatregoers themselves. Nominations will close at midday on 21 November ahead of the shortlist being announced on 5 December 2024. Voting on the shortlist will then open at the same time, closing on 9 January 2025.
The annual event sees theatregoers across the UK nominating and voting for their favourite shows and performers. It will culminate in a glitzy concert spectacular at The London Palladium on 9 February 2025, with the winners being announced on the night.
As well as seeing the winners crowned across a range of categories, theatregoers will also enjoy a host of exclusive live performances from top stage talent, accompanied by a 24-piece orchestra in a one-night-only showcase co-produced with creative directors Alex Parker and Damian Sandys.
WhatsOnStage’s Darius Thompson and Alex Wood said today: “Let the campaigning begin! We’re so excited to provide audiences with the opportunity to have their say and crown their favourite shows and creatives. As is the case every year, we continue to refine and adapt our awards line-up to reflect the ever-changing nature of our theatre community. This year, we’ve broadened the scope of the Best Off-West End Production Award and renamed it the “Best Studio Production Award” to recognise smaller-scale venues across the nation, to celebrate artists making captivating work in more intimate spaces.
“Secondly, after many years of constructive conversations, we’ve introduced a Wigs, Hair and Make-Up category to foreground the incredible work being done by some of theatre’s most innovative artists. We can’t wait to come together on 9 February at The London Palladium for an extra-special event for our silver anniversary!”
For each of the following, readers will be able to nominate and vote for one individual/show:
Best Performer in a Play – Sponsored by SINE Digital
Best Performer in a Musical – Sponsored by Ticketmaster
Best Supporting Performer in a Play
Best Supporting Performer in a Musical – Sponsored by Newman Displays
Best Takeover Performance
Best Professional Debut – Sponsored by AKA
Best New Play – Sponsored by Go Live Theatre Projects
Best New Musical – Sponsored by Travelzoo
Best Play Revival – Sponsored by Edwardian Hotels, Official Hotel Partner
Best Musical Revival – Sponsored by Concord
Best Regional Production – Sponsored by MTI
Best Studio Production – Sponsored by Theatrical Rights Worldwide
Best Concert Event
Best West End Show – Sponsored by Dewynters
For almost all categories, productions must have begun preview performances of a press-reviewed run before 7 November 2024 in order to be eligible. Nominations close at midday on 21 November 2024.
The shortlist for the technical categories (Choreography, Costume Design, Direction, Wigs, Hair and Make-Up Design, Lighting Design, Musical Direction/Supervision, Set Design, Sound Design, Casting Direction and Video Design) will be decided once again by an independent panel of industry experts from across the UK appointed by WhatsOnStage, taking the total number of categories to 24. Shortlists will then be voted on by the general public.
WhatsOnStage would like to take this opportunity to thank the 2025 awards ceremony sponsors: 5RB, Above Title Finance, AKA Promotions Ltd, AudienceView, Avalon, Boulevard Events, Concord, Dewynters, Disney’s Hercules, Edwardian Hotels, Hexagon Print, Go Live Theatre Projects, LOVEtheatre, Music Theatre International, Newman Displays, Outernet Venues, Preevue, PRG, Re:Water, RSVP-ify, SINE Digital, Steeldeck Rentals, Tandem Marketing, Theatrical Rights Worldwide, Ticketmaster, TikTok, Travelzoo and White Light.
** Due to cast illnesses, this performance was adapted to a shortened ‘concert version’ of the songs from the show, with full costume and the live band alongside a story line narration. **
Live theatre is often unpredictable, and situations can arise at the last minute to test even the most prepared theatre company. Last night’s performance of Play On! at the Birmingham Hippodrome was one of those unpredictable nights. Due to cast illnesses, including the production’s leading lady, Tsemaye Bob-Egbe as Viola/Vyman, The Talawa Theatre Company took the difficult decision to adapt last night’s show and perform a 70 minute ‘concert’ version. The show featured the songs and choreography, but with much less dialogue.
The show is based on Shakespeare’s Twelfth Night reimagined in the Jazz Era of 1940s Harlem. It began life in 1997, conceived by original director Sheldon Epps, with a book by Cheryl L. West. The show has never been performed in the United Kingdom. Talawa Theatre Company is a Black British theatre company that decided to revive the show and bring it to British audiences. The show features Duke Ellington’s music.
After an understandable short delay, the show began with director Michael Buffong explaining the situation. Buffong became our on-stage narrator throughout. Sat to the left of the stage, joining the audience in witnessing the immense talent that his cast proved they possessed throughout the performance. Although it was to be a concert-style performance with the cast given chairs set out on the stage, the cast still gave it their all, with their character’s mannerisms and facial expressions often drawing laughter from the audience. Rather than just performing each song one by one, Michael Buffong’s narration weaves a story and connection between them. The story of unrequited love, sexism, and ultimately acceptance.
We meet lovelorn Duke (Earl Gregory) and Rev (Cameron Bernard Jones), who have both fallen for Lady Liv (Koko Alexandra), a singer at Harlem’s famous Cotton Club. Throughout the show, Miss Mary (Tanya Edwards), Sweets (Lifford Shillingford), and Jester (Llewellyn Jamal) all try to help Rev woo Lady Liv. This sets the scene for probably the funniest part of the show. Rev shows up in a bright yellow zoot suit to sing ‘I’m Beginning To See the Light’ for Lady Liv to try to win her affection. The way Cameron Bernard Jones moved around the stage spinning and lunging in his striking suit left the audience in fits of giggles. A special mention must be given to Koko Alexandra as Lady Liv. Her vocals were amazing and pitch-perfect, especially during ‘I Ain’t Got Nothin’ But The Blues’. The band led by Ashton Moore, who were onstage throughout, were also outstanding.
Against all odds, Talawa Theatre Company and its exceptionally talented cast provided an exciting and toe-tapping performance that they should be very proud of. The prolonged standing ovation at the end speaks for itself. While it may not have been the show the audience expected to see, as the saying goes… the show must go on, and the cast proved that they can ‘Play On!’
Thursday 7 November 2024, London: Karl Sydow and Adam Kenwright are delighted to today announce their new joint venture. Capital Theatre, a permanent new theatre venue, will open in West London in Autumn 2025 with the record-breaking Dirty Dancing – The Classic Story on Stage set to be its very first production. Performances commence on Thursday 23 October 2025 in Westfield London in Shepherd’s Bush.
Tickets go on sale Friday 8 November at dirtydancingonstage.co.uk– book now for the time of your life!
Karl Sydow, Producer, Dirty Dancing – The Classic Story On Stage, said: “I began my entertainment journey in 1965 with Rock’n’Roll bands, moved to theatre in 1982, produced my first show in 1988 and received my first Tony nomination in 1991. I have presented shows all over the world from the smallest of the fringe to the largest of West End Theatres and produced Dirty Dancing – The Classic Story on Stage since 2004. So at the halfway point in my theatrical life I’m thrilled to be doing something very special and new to me with a very special friend. It’s time to build and run a venue! We have always had a mission to bring more people to the theatre and by opening the Capital Theatre at Westfield London, we are bringing a theatre to where the people are!”
Adam Kenwright, Founder & Managing Partner at Kindred Partners, continued: “We are so excited today to announce the Capital Theatre: a thrilling, state of the art addition to London’s thriving entertainment scene. We have created a uniquely tailored and designed new space, with the experience of audiences at its heart. London’s theatres are on course to deliver the greatest ever attendance figures in 2024, with 17 million tickets and, for the first time ever, sales in excess of £1 billion. Capital Theatre will build upon this, supported by superb transport links to provide easy access for audiences from across the UK. With Dirty Dancing – The Classic Story on Stage as the inaugural show in the venue, we will be launching with a world-renowned production that has a track record of more than a decade’s sold-out seasons in London and throughout the country.”
Laura Waters, General Manager at Westfield London, added: “We are absolutely thrilled to debut Capital Theatre at Westfield London with the world-renowned production of Dirty Dancing – The Classic Story on Stage. As the UK’s leading destination for shopping and leisure, Westfield London is continually evolving to offer unparalleled experiences, and this purpose-built, state-of-the-art theatre is an exceptional addition. We look forward to welcoming audiences to this spectacular new venue to enjoy a world-class show.”
Capital Theatre is to be operated by Adam Kenwright and his company Kindred Partners in partnership with Karl Sydow. With the auditorium designed and built by the architect and design team behind The Bridge Theatre, @sohoplace, The Young Vic and the recent transformation of the Playhouse Theatre into the Kit Kat Club.
The brand new purpose-built 620 seat venue is set over 35,000 square feet, taking over the southwest corner at the vibrant Westfield London in Shepherd’s Bush. The intimate flexible auditorium will deliver a premium experience where every seat offers a fantastic view, and no customer will be more than 9 rows from the performance stage area. The venue will accommodate premium rehearsal rooms, first class backstage facilities including offices, dressing rooms, creative and technical facilities alongside management offices.
The state-of-the-art venue will include a welcoming foyer café serving delicious food and drink throughout the day, complemented by an onsite box office and merchandise store open seven days a week. Capital Theatre is ideally situated in the heart of Westfield London, offering customers exceptional accessibility through numerous public transport links (served by 4 major London underground stations: Shepherd’s Bush, White City, Wood Lane and Shepherd’s Bush Market) and convenient car parks nearby, with 5000 parking spaces on site. The venue will have access directly from the street and from within Westfield itself.
Dirty Dancing – The Classic Story on Stage will be the first production to open at Capital Theatre. The smash hit musical, produced by Karl Sydow, will make a triumphant return to London, having had two box office record-breaking seasons in the West End in the last four years.
Get Ready for The Time of Your Life. Dirty Dancing – The Classic Story on Stage returns to London in a stunning new venue!
Experience the iconic story like never before as the legendary, officially endorsed theatre production of Dirty Dancing takes to the stage at Capital Theatre – an intimate, purpose-built venue at Westfield London.
The worldwide smash hit has already captured the hearts of millions across the globe. Now you can step into a beautifully designed theatre space that brings you closer to the action, ensuring you won’t miss a single heartbeat of this exhilarating production.
Featuring sensationally sexy choreography, that famous lift and all your favourite moments live and up close, accompanied by the classic soundtrack of 35 hit songs including Hungry Eyes, Hey Baby, Do You Love Me? and the heart stopping (I’ve Had) The Time of My Life, played live.
Be transported back to Kellerman’s resort in the summer of ’63 where Baby first meets charismatic dance instructor Johnny Castle and quickly becomes drawn into his world.
Relive their timeless love story as Baby explores her deepening feelings for Johnny, navigates her friendship with Penny—Johnny’s best friend and dance partner—confronts the expectations of her conservative parents, Marjorie and Jake Houseman, and deals with the disruptions caused by the self-serving Robbie Gould and Vivien Pressman.
Discover a fresh take on the beloved story, script, and music from the acclaimed live stage phenomenon. This intimate, fully staged new production features a cast, band, and company of over 40 performers, reimagining the iconic tale from Baby’s memorable moment of “carrying a watermelon” to her heartwarming transformation and the unforgettable final dance that proves, “Nobody puts Baby in a corner.”
Dirty Dancing – The Classic Story on Stage is a Karl Sydow production in association with Lionsgate and Magic Hour Productions, written by Eleanor Bergstein.
As the author of ‘Rebus’ books, Ian Rankin has worked with Simon Reade to bring his iconic detective character to the stage. The production sees Rebus, who has recently retired, involved in an after-dinner murder mystery game that is written by the host and charged with alcohol and tension.
The audience is introduced to the guests as they begin their ruminations about the murder of a fictitious character, ‘Lord Manningham’. The set itself draws you into the secrets and tales of a stately home and its guests. As the dinner guests share their various theories, we are gradually introduced to the complex relationships between guests and their varying characteristics. All activity and drama are played out in the dining room.
For the first half of the play, it seems that the audience is part of the game and tasked with solving the mystery alongside the dinner party guests. Rebus (played by Gray O’Brien) himself makes plenty of contribution to discussions. The comings and goings of each of the guests feel a little mundane and have no bearing on solving the mystery set by their host.
At the end of the first half, the classic ‘twist in the tale’ is unveiled: a guest discovers a body in a room elsewhere in the house. Suddenly, every detail of the play so far becomes more relevant. At half time, the audience is left tracking back over the detail of the first half, desperately trying to anticipate how a death has occurred in the house, right under everyone’s nose.
In the second half, the tension and suspicion between guest rises and the possibility that anyone at the party could be responsible for murder is introduced with a vengeance. Rebus himself switches from involved guest to crime scene investigator, clearly invigorated by the opportunity to ‘get back to work’. Every movement from the first half is retraced and every interaction between guests is analysed. Rebus shows that he still has what it takes to solve a crime but not without consequence to the relationships between guests.
The brilliance of this show lies in the skilful way that the cast portray each of the characters as mere dinner guests and potential murderers in equal measure. It certainly isn’t a straightforward murder mystery play but more a case of two mysteries.
