A sensual backing track fades, and a spotlight hits an unmenacing, yet suspicious, man in a suit and glasses who fervently tells his first audience: “If I hadn’t changed my mind that night I would never have found out the truth – or committed the most terrible crime.”
The Perfect Murder, directed by Catherine Newsome and performed by Midland Players, is a play that follows an unfaithful husband who is certain he murdered his affair partner, and his wife who transforms their marital crisis into a clever cover-up, framing an innocent man to keep John out of prison.
Watching opening night on the 23rd September, their chemistry instantly invested me into a very believable married couple. Matt Beaumont-Voice is compelling to watch for his brilliant physicality that weaves John Hoskins’ growing guilt and restlessness into a jittery persona. Kate Spivey plays a sarcastic wife, humouring herself with jibes as a front for being tired of her husband’s lost interest. The use of costume change and props in these initial scenes made their home life a seamless backdrop for each passing day, and compatible with the tense dialogue.
Kate Spivey stood out to me particularly during her scene of confrontation, where I enjoyed her strong tone and cynical one-liners towards her husband revealing – in perhaps too much detail – the cheating antics that lead to this murder. I was beginning to yearn for some nuance to her character’s blunt, unvarying emotions, when the husband left and Spivey collapsed in a chair, hands cradling her face scrunched in abrupt defeat. The switch-up resulted in quite an emotional realisation that she had restrained devastation. Similar acting choices from her continued to stun me throughout.
A side character who really shines is the Maid being interviewed by the satirical Detective Inspector (Heather Sawrey). Ruth Deller took what could be a long, complicated moment and instead pumped such committed, humorous characterisation into a large chunk of important, narrative monologue that explains the murder scene. This hooked me to her visuals rather than the stillness on stage, without which I might’ve wished for a low-lit re-enactment off to the side.
Where the first Act was delightfully fast-paced, the second act dragged at times during the court room scenes which reflected the true setting slightly too much – which does credit the satisfyingly replicable set. However, I felt the lengthy dialogue diluted many actors’ comedic and sarcastic depth, losing entertainment in place of realism.
Despite this, Samantha Oldham’s sharp manner and ceaseless expressions of an exasperated defence barrister gave the script relieving bits of movement. As did the refreshing televisual elements, and Dr Mallins (Telyn Herbert) and Sir Humphrey (Chris Walker) in stirring up awkward humour.
Not to mention Matt da Gama who I initially thought played an innocent man with no emotion towards being on trial, only to turn into an intriguing melt-down of stoicism into rage and humiliation at unrelenting personal questions. His initial front became a mysterious mask for the audience to pick apart.
Overall, this was an enjoyable production with a compelling mystery plot which, although requires some tightening, captures a fulfilling shift in atmosphere when alibis unravelled, drawing gasps from the audience with a jaw dropping last line before curtain.
The Perfect Murder is performing at the Sheffield University Drama Studio until the 26th September.
Rating: ★★★☆☆
Image Credit: Joe Otten
