All the trimmings of a classic historical musical: finger-snapping numbers, goosebump-inducing ballads, jazz hands and a… real life murder case?
Based on the Ilford Murder of 1922, Entertaining Murder tells the story of Edith Thompson’s affair with Freddy Bywaters and their trial for the murder of her husband, Percy. The show unfolds in retrospect, narrated by Edith’s sister. Decades later Avis reflects on her sister’s case letters, still campaigning for her pardon. The audience is initially kept in the dark, the depiction of murder ambiguous. We travel back to watch the secret affair between Edith and Freddy grow, before descending into a nightmare; Percy, stabbed and they both look guilty – but are they? The audience becomes the public, following the press’ sensationalised stories, and eventually, the lovers’ fate-deciding jury.
You may think you’ve walked into an all singing, all dancing ‘Who-Dunnit’, yet Entertaining Murder actually feels more like a (slightly delirious) satire or critical commentary; on the court proceedings of the day, the release of Edith’s private letters, their approval as admissible evidence in court, of capital punishment. The audience is not held in suspense long over the identity of the murderer and the mystery element quickly dissipates. The story focuses more on Edith’s trial, perhaps intentional or a limitation of writing about true events.
Although generally unmemorable, most tracks are an effective and pacey storytelling device, thoroughly engaging throughout. Some songs are particularly fun (Divorce, If The Murder Had Been Planned) or stand out with the performance (such as Sullivan’s emotional ‘Enough’ or ‘Beautiful Things’). Others are somewhat jarring as jazzy numbers contrasting so starkly with the morbid subject matter. You could say that the show reflects the ridiculous nature of the press coverage and public reception of the case, in the way that Edith, (and Freddy to a lesser extent) was put on trial for her sexual ‘misconduct’: as if the central crime was not killing but the breaking of societal norms, particularly by a disobedient woman. Whether or not the latter was the intention of Burgess, the piece is witty and self-aware with a few moments of breaking the fourth wall and humorous nods to the format of the musical to discuss murder, the death penalty, and abortion. Future Avis framing the narrative, guiding us through several time jumps was very effective storytelling and avoided confusion.
Snelson and Sullivan as Edith and Freddy have fantastic chemistry on stage which is beautifully accentuated by O’Reilly’s delicious choreography. Gee and Cosgriff playing Young Avis and Percy respectively, also switch expertly between a range of other characters. They are often comic relief in these weirdly contrasting macabre numbers. The charming Kelvin effortlessly holds all narrative threads together with emotive storytelling and strong vocals. With the 1920s costumes by Evans and set expertly denoting sense of time and place, Clingham skilfully on live keys and along with some really nice dramatic lighting states by Lambert, the production came together beautifully. It isn’t hard to see how Edith’s story captured Burgess’ imagination and their clever writing and direction does it justice. That said, tonally, the show could be more cohesive and felt produced and blocked for a much larger space.
Well hosted by the impressive theatre facilities of Upstairs at the Gatehouse, this strangely delightful show about murder, misogyny and hanging, is jam-packed with a seriously competent cast, crew and high production value.
Entertaining Murder written by Chris Burgess, produced by LAMBCO Productions, is on until 10th May Upstairs at the Gatehouse Theatre. Tickets available here.