The Grand Theatre Blackpool – until 24 October 2026
Reviewed by Debra Skelton
5*****
‘A Twisting Tale of Murder, Mischief and Mistaken Identities’
The Other Side of Murder is the latest chapter in Torben Betts’ much-loved comedy-thriller series, arriving with all the fast-paced humour, mystery and theatrical chaos that fans have come to expect. Reuniting Betts with director Philip Franks, the production blends classic whodunnit intrigue with a generous dose of farce, creating an evening that is both entertaining and delightfully unpredictable.
From the moment the action begins, the play rarely lets up. Characters find themselves caught in an increasingly tangled web where professional ambitions and personal relationships collide, leading to misunderstandings, surprises and plenty of laugh-out-loud moments. Betts clearly relishes keeping both his characters and audience on their toes, continually raising the stakes as the story unfolds.
The story centres on celebrated television medium Darius Divine, host of the popular paranormal entertainment show The Other Side, whose plans for a quiet family dinner are quickly derailed by the arrival of unexpected guests. As tensions rise and long-buried secrets emerge, the evening descends into comic chaos before taking an intriguing supernatural turn.
Blending domestic comedy with paranormal mystery, the play keeps audiences guessing as reality and performance become increasingly blurred. A cleverly constructed final act delivers an unexpected twist that adds another layer of intrigue to an already entertaining evening.
The cast throw themselves fully into the play’s fast-paced comic style. Rufus Hound is engaging as the charismatic Darius Divine, while Carla Mendonça brings a steady presence as Susannah and Aisha Jawando injects energy and determination into Laura. Together, the ensemble strikes an effective balance between comedy and mystery, even as the plot becomes increasingly chaotic.
The standout performance comes from Susie Blake as Miriam. Combining superb comic timing with an endearing unpredictability, Blake ensures that every appearance commands attention. Her subtle reactions and effortless delivery add depth to the character, creating many of the production’s funniest moments.
Beyond the performances, the production excels in its technical execution. Colin Falconer’s inventive set design, Jason Taylor’s atmospheric lighting and Max Pappenheim’s immersive sound design create a richly engaging theatrical world, while John Bulleid’s cleverly crafted illusions add an extra layer of intrigue and surprise. Seamlessly woven into the action, the effects enhance both the mystery and the comedy, helping to keep the audience guessing throughout.
What makes the production particularly enjoyable is the sharpness of the writing. The dialogue crackles with witty exchanges, clever observations and a steady stream of jokes, many arriving so quickly it’s easy to miss one while laughing at the last. The result is a lively, energetic comedy thriller that keeps the audience entertained from start to finish.