Murder at Midnight opens with police officers investigating a blood-soaked crime scene before rewinding to reveal the events that led there. Gangster Jonny “The Cyclops” (Jason Durr) returns unexpectedly early to his Kent mansion to celebrate New Year’s Eve, accompanied by his loyal sidekick Trainwreck (Peter Moreton).
Already in the house are his elderly mother Shirley (Susie Blake), and Cristina (Iryna Poplavska), a Romanian carer whose role is complicated by Shirley’s possible dementia—or perhaps psychic abilities.
Jonny plans to propose to his long-term girlfriend Lisa (Katie McGlynn), but his surprise return derails those intentions. Unaware he is home, Lisa arrives from a costume party dressed as a nun, accompanied by Paul (Max Bowden), who is dressed as a priest. Paul, however, is an undercover police officer investigating the mysterious disappearance of Jonny’s wife twelve months earlier. The evening descends further into chaos when Russell (Callum Balmforth) crashes the party dressed as a clown, intent on robbing Jonny to clear his debts.
Visually, the production is impressive. Designer Colin Falconer’s split-level set convincingly suggests a vast modern mansion and allows director Philip Franks to stage multiple conversations in different rooms simultaneously, maintaining a brisk pace. However, this structural device also exposes the script’s weaknesses. At times, the play feels less like a cohesive stage mystery and more like a television sitcom transplanted onto the stage, constantly switching between scenes without allowing the narrative to settle or deepen. Story developments often arrive in brief sound bites, creating gaps in continuity and emotional investment.
This approach may be intended to generate momentum, but it ultimately undermines the storytelling. For example, Cristina spends much of Act One anxiously anticipating the arrival of “Mr Fish” (who later turns out to be Russell), yet the nature of her relationship to him is never clearly established. This lack of clarity weakens both her character and the audience’s understanding of the stakes involved.
The cast’s commitment to the production is undeniable. Performances are energetic and enthusiastic, with each actor delivering a clearly defined character. However, strong performances can only do so much when the script itself lacks precision.
While the set allows for classic farcical elements—characters entering and exiting unseen by one another—the characters themselves are not exaggerated enough to fully support farce. As a result, the play sits awkwardly between comedy and thriller without fully committing to either.
There are effective comic moments, particularly when Shirley is first confronted by Russell, but this success owes more to Susie Blake’s impeccable comic timing than to the writing. Elsewhere, humour and tension feel inconsistently balanced, and opportunities for sharper satire or suspense are missed.
Ultimately, Murder at Midnight is buoyed by strong technical elements and a hardworking celebrity cast who strive to elevate material that too often settles for adequacy. The play is entertaining, but it gestures toward a sharper and more sophisticated mystery than the script ultimately delivers. With tighter dialogue, clearer structural choices, and more fully realised characterisation, Murder at Midnight could move beyond a pleasant diversion and become a genuinely gripping theatrical experience.
Production Run - Wed 28 Jan 2026 - Sat 31 Jan 2026
Reviewer - Jen O’Beirne
On - 28th January 2026
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