Murder At Midnight Review: a shallow comedy-thriller unsure of its identity
- Wiktoria Mordon
- 14 hours ago
- 3 min read
16 February 2026 I 19:30 I Royal & Derngate, Northampton
⭐⭐⭐ I PR - Invite
Opening this week at Northampton's Royal & Derngate, Original Theatre present their touring production of Murder At Midnight, a refreshingly comedic take on the murder mystery genre.
Unlike other thrillers, like those of Agatha Christie's mind, the audience aren't kept in the dark, nor slowly drip-fed hints as the murder happens before the audience. Instead, undercover policeman Paul (Max Bowden) is trying to solve the murder of Jonny's (Jason Durr) late wife Alex, who disappeared some five years prior. A series of frenzied actions result in a not-so-sophisticated mystery, rather imposing the comedy aspect to have a farcical tone. Audiences are encouraged, with a lack of seriousness, to switch off their brains and revel in the humour.
A set design from Colin Falconer illustrates modern, new money architecture with bold shaping and wooden panelling, boasting an open plan living room/kitchen collage where most of the scenes take place. This showy staging is a result of Jonny and Lisa's (Katie McGlynn) history, both recently rising into their riches and flaunting it. The office is dedicated to Robbie Williams, with a large painted portrait of the singer whose importance isn't clear, feeling mismatched and irrelevant. Opening lighting states (Jason Taylor) demonstrate great promise in abstract, stylish colours, soon turning realist and subtle for the remainder.
Performances across the board are very caricaturist which, despite being hilarious in moments, it makes connecting with the characters difficult. These can feel very two-dimensional, perhaps unintentionally making a social remark on the shallow behaviour of wealthy people. It can often fall into the dangers of stereotyping, with Jonny 'The Cyclops' as the swaggering, hot-shot drug dealer and the overwrought young father Russell (Callum Balmforth). We can however sympathise with Trainwreck (Peter Moreton) and Shirley (Susie Blake) due to their more convincing emotional journeys of betrayal and confusion.
The pace of Torben Betts' script in Act One feels almost too quick, as multiple levels of the set are used simultaneously. Due to the expressive nature of the actors, background action is distracting when our attention should be focused on potentially important dialogue in the foreground. Regardless of this, the company are very confident in their timings and structure, allowing everyone to share the spotlight evenly.
Murder At Midnight ultimately struggles under the direction of Philip Franks, uncertain of what it wants to be and using comedy to cover its imperfections. Angled with a slapstick style of comedy, the play takes itself too seriously in patches, and in others throwing corny jokes at the audience.
Act Two stands defiantly stronger as the plot comes to a close, characters acting more erratically and honouring its comedic bones as the mystery is revealed. The audience of the Royal burst with laughter as this half of the production leans into absurd humour, completely out-of-pocket jokes catching the audience by surprise. Stage deaths are tonally unusual, encouraging chuckles rather than providing reconciliation or pause for thought. Political commentary is attempted briefly, which is commendable although not suited to the nature of the play.
Soon rounding off its UK Tour on the 4th April, Murder At Midnight is a complex watch, weaving many narratives together and redeeming stylistic issues later in the play. On the surface, its comical fluency may not grip its audiences, yet it stands undeniably watchable for those looking for escapism and an evening of entertainment.
Touring Information & Tickets: https://www.murderplay.com/
