Midnight Murder at Hamlington Hall

Murder mysteries are a dime a dozen, but Midnight Murder at Hamlington Hall, penned by the imaginative duo, skilfully carves out its niche in the genre with a sharp mix of suspense, humour and theatrical flair. In what could only be described as a metaphor for the unpredictable nature of theatre life, The Richmond Players tackle the farce and score a home run.

Directed by Carol Wimmer, this play is a tribute to the tenacity of the Middling Cove Players and indeed to all community theatre whose indefatigable spirit resonates through every line and every comedic mishap. The story unfolds in the setting of a community hall, the home ground for the battling theatre group on opening night. In a situation that many might find eerily relatable, they hope this performance will impress a council representative enough to secure their future in the beloved venue. 

Alas, as the opening hour draws near, chaos ensues — cast members drop out with alarming frequency, victims of an all-too-familiar scenario in our current age: testing positive for an infectious disease.

Yet, the show must go on, and herein lies the genius of Kilmurry and Oxenbould's work. The play transforms into a play within a play, where the real plot revolves around the scrambling cast desperately trying to pull off the performance amidst chaos. 

It’s Agatha Christie crossed with The Play That Goes Wrong, with Martin Crew leading the charge as beleaguered am-dram director Shane caught in the whirlwind of last-minute replacements and on-the-spot improvisations. His fervent energy and impeccable comic timing shine as the director determined to persevere against all odds. 

In the world of theatre, the true litmus test for any production lies in the chemistry of its characters; this is a true ensemble. It wouldn’t work any other way. The play stitches together the archetypal personas that are both relatable and ripe for comedy, making it a delightful spectacle.

Emma Taite, as Phillipa, is the company's leading lady, pouting and reminiscing over reviews and roles. She’s taken the time off work to prep and prepare her instrument for opening weekend. Taite is a delightful whirlwind of confusion, charm, and Aussie character. Phillips’s leading lady, her ego—often outshining her talent—provides a rich vein of humour. 

Eugene Zanozin as Barney: The seasoned veteran, with his unsolicited advice, Clings to faded laurels despite the chaos unfolding around them. He revels in his many roles. He is the founding member, trying to tell everyone how to act, wandering around in his boxers. His physicality, multiple voices, and wig changes ensure bursts of laughter at every twist.

Penny Johnson shines as the reluctant stage manager Karen, who is completing her community service; her perfect deadpan delivery and impeccable timing earn her numerous laughs while still leaving the audience guessing about her role in the central mystery. 

Her character mirrors that of Sally Winsor, the real-life stage manager who ensures the flawed production flows as seamlessly as it does.

An unexpected gem is the nervous newcomer, thrust into the limelight at the eleventh hour with a script. Aurel Vasilescu, as Richard, skilfully keeps the viewer guessing until the end, as he bumbles through the script, changes in costume, and mishaps. 

As the shadow of impending midnight looms large, missed cues, set and sound malfunctions, forgotten lines, and line loops are catalysts for a spiralling descent into farcical pandemonium. The collective ineptitude of this dysfunctional ensemble drives forward, and the audience is treated to a crescendo of hilarity. Each blunder and folly brings the production closer to its uproarious climax. 

Under Wimmer's direction, the pacing never lags, the lighting and sound design are effective, and the costuming is hilarious, with actors playing the same role in the same costume and multiple costume changes in very quick turnarounds. 

Supported by a diligent production team, Steven Wimmer ensures logistical harmony by creating a gorgeous set with walls that move and things that open, so nothing is missed. 

Well done on a seamless blend of chaos and comedy. Every comedic beat lands perfectly despite the play’s apparent tumult, celebrating the beauty found in imperfection and the laughter that can arise from the unexpected. 

Nicole Smith

Photographer: Scott Hartog