Category: Interactive

IN CONVERSATION WITH: Christian Dart

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We sat down for an exclusive interview with Christian Dart, performer and writer of Gumshoe! Christian Dart returns with his acclaimed, smash hit, sell-out EdFringe 2025 show GUMSHOE! to SOHO Theatre. About a New York Detective embarking on his final and most ridiculous case, you can join Gumshoe as he attempts to solve the unsolvable case. Who did the whodunnit?!

This show runs from 7-8th November at Soho Theatre. Tickets here

Christian, your show presents a detective on his final, deadliest, and most ridiculous case. How did you land on this character – what was the spark?

Well, I’m a huge fan of detective stories, and I watch a lot of movies (thank you ODEON Limitless) so I was up late one night watching Knives Out and had a fun thought, “What if I did a stage show as a detective and the client who starts the mystery for the whole show is an audience member?” Initially I brushed it off as a fun idea that wouldn’t work, but over the following days the idea kept eating at me. I went and bought some classic mystery movies and did my homework. The more I watched the more I realised that the 1940’s was RIPE with comedy, and the character of GUMSHOE! Was born. He’s a walking pastiche. An old fashioned, satirical caricature of what a “man” was supposed to be. He’s ridiculous and I love him.

The premise is noir and comedy. How do you balance the suspense, atmosphere, and the laughs when you’re writing and performing?

GUMSHOE! Is my love letter to film noir and murder mystery, so my goal was to tell a great, fun mystery with plenty of laughs and clowning along the way. Don’t get me wrong, you aren’t about to walk into An Inspector Calls here, unless they’ve added water pistols and audience members playing Police dogs into that show, but I really wanted to earn the hour long runtime of the show with an exciting plot and a satisfying ending. I knew going in of the risk when writing a 60 minute show based on one single character and idea, it has the potential to wear thin quickly, so I knew when writing I wanted to keep the audience on their toes, laughing and by the end, surprised.

Without spoiling too much, is there a favourite clue, twist, or moment in the show that still makes you smile when you first wrote it?

Absolutely. I can’t say what it is, I wish I could, but it’s at the end of the show. I remember workshopping the end of the mystery with my sister Johanna, who is also my co-director, tech, poster designer and stage manager (she’s a freaking star) but we were sat in a park in Kingston Upon-Thames, I was stressing trying to figure out how to achieve this *moment* and a lightbulb might as well have appeared above Johanna’s head as she solved it. So thank you Johanna for figuring that out. I love this moment. I can audibly hear the audience realise what’s happening at different stages of the reveal, some get it straight away and some don’t clock until it’s right in their face, metaphorically.

You both wrote and perform Gumshoe!. How does your writing change when you imagine yourself delivering a line versus someone else doing it?

Writing for myself is so much fun, I will convince myself that I know how I’ll deliver a line, and then I’ll get on stage and take myself by surprise, delivering the line in a completely new way. So I’ve learnt not to rely on the “Me” I’m writing the lines for, the real trick is finding the correct version of the line through play in rehearsals, once I’m on my feet and I’ve not got no script in my hands, I’ll fluff my way through the show until I’m happy with the way all the jokes and information land. I’m a firm believer in finding yourself in the lines of a script, so when writing, whether for myself or others, I often (not always) believe in taking the essence of the line and finding your own way of saying it.

The show encourages audience engagement. What do you love about involving the audience in that detective adventure?

I’ve always loved audience interaction in my shows, and GUMSHOE!’s world has no fourth wall. A common trait in Noir is a narration throughout the stories, and GUMSHOE! Is no exception, the audience are the subconscious of the character and he’s talking to them as he finds clues and solves the mystery. I understand some people find audience interaction scary, and that’s completely understandable, which is why I greet the audience into the venue at the start of my shows in character, I find this relaxes them into the show world quickly and comfortably, it means they’ve already met GUMSHOE! And now, hopefully, they’re up for playing in this playground of a performance with him, because he’ll likely shoot them if they don’t.

REVIEW: Faulty Towers: The Dining Experience

Published on by Antonia ConstantinLeave a comment

Rating: 3.5 out of 5.

Go with a sense of humour, don’t expect a gourmet feast, and you will leave with a smile

Some nights feel like a time machine, and Faulty Towers: The Dining Experience leans all the way into that retro ride. The evening starts in a  reception area already buzzing with pre-dinner chatter and a bar queue that moves at a polite but slow pace. While waiting, I noticed a familiar face across the crowd: double Olympic champion Dame Kelly Holmes. Pure chance put us at the same table later, and sitting next to her was an unexpected highlight that set the night off on a pretty unforgettable note.

Just as everyone settled into small talk, Basil  burst through the doors, all sharp elbows and sharper insults, and suddenly we were in the world of 1970s British comedy. He herded us into the dining room with withering remarks aimed at both guests and his permanently confused waiter, Manuel, while Sybil trailed behind, perfectly sweet and perfectly sarcastic. It was the ideal chaotic welcome.

Instead of a single storyline, the show runs like a mixtape of classic moments from the TV series: quick-fire sketches, improvised bits, and callbacks to favourite episodes. If you grew up on reruns of Fawlty Towers, it’s a nostalgia hit you’ll love. If you have  never seen the original, it can feel a bit like jumping into a box set halfway through season two.  A short intro or a loose plot thread would help newcomers catch the rhythm.

That said, the cast absolutely sells it. Benedict Holme ’s Basil is a full-body performance, nailing the jerky physical comedy, sudden rages and deadpan sarcasm that made John Cleese a legend. Andrew Gruen as Manuel is a total scene-stealer: his wide-eyed confusion, lightning improvisation, and just-right Spanish accent had the whole room laughing. When a running gag about the chef’s dentures in the soup landed literally at our table, they all  turned it into a perfectly timed, hilarious moment.

The food? Definitely more retro tribute than foodie destination. Think sturdy 1970s British dinner-party classics: hearty, heavy, and a little bland if you’re not here for the nostalgia. It suits the concept, but anyone expecting modern fine dining might find it a bit of a throwback in the wrong way. Still, nobody’s here for the gastronomy. The meal is  a prop, and the cast makes that part of the joke. By dessert, plonked down with Basil-like abruptness, it’s clear the evening isn’t about a seamless plot or culinary fireworks. It is about slipping into a beloved slice of British TV history and enjoying a few hours of pure, silly fun.

Faulty Towers: The Dining Experience isn’t flawless. The lack of a storyline can feel a little scattered, and the menu won’t win awards. But the energy, the spot-on performances, and the chance to see these characters come alive in the middle of your dinner make it a unique night out. Go with a sense of humour, don’t expect a gourmet feast, and you’ll leave with a grin—and, if you’re as lucky as I was, maybe even a story about sharing soup (dentures and all) with an Olympic legend.

REVIEW:(God Save My) Northern Soul & Vermin

Published on by fbalchinLeave a comment

Rating: 5 out of 5.

“Two exceptionally well written plays explore polar opposite ends of the grief manifestation spectrum”

(God Save My) Northern Soul

If, like me, you’ve ever grown up in Wigan, or Lancashire or indeed just the nebulous “North”, this play is bound to resonate with you. Following nineteen year old Nicole (played by the show’s writer Natasha Cottriall), we go on a nostalgic and bittersweet journey of what it means to come of age in the midst of parental bereavement. Cottriall’s acting is superbly nuanced; her accent skills are uniquely suited to the softness of Nicole’s lilting accent, the harshness of her friend Sally’s, the stiffness of her grandmother’s, and the Mancunian twang of a man she meets at the club. It is an emotional tale threaded with the fabric of Northern Soul music- the mighty Wigan Casino soundtrack playing backdrop to Nicole’s musings on her suddenly deceased mother, whose assets she must now reckon with, all before really knowing what it means to be an adult. Topics of education, business, love, fashion, music and family are all gently explored with tender reminiscence and a jolt of reality. Humour is peppered throughout; for example Nicole jokes with a guy she meets at a club that she just bought her own grave that day, and if he plays his cards right he can have the second space. The absurd reality of dealing with bereavement and the paperwork and mundane necessities are seamlessly performed in this solo show. Clever lighting cues and physical body language changes are etched on the checkerboard flooring of Nicole’s flat. As a Northerner I absolutely loved it. It made me feel emotional and it felt genuine. This show is Jim Catrwright’s Road for the modern age: Cottriall’s personal experiences echo through her sublime writing and her characters are all portrayed as good eggs- I think I’d dance to Northern Soul with every one of them.  Make it full length next time, ah’reet?

Vermin

I could pinpoint the exact moment the audience realised this was not a comedy. As graphic as a Lars Von Trier script and as uncomfortably surreal as a Sarah Kane play. And you know what? It was brilliant. Good. Make us feel awkward, afraid, terrified- this is not a show for ambivalence. This production is told by South London couple Rachel and Billy (played expertly by Sally Paffett and Benny Ainsworth respectively). They spend the whole performance either in two simple chairs or breaking the fourth wall explaining their frankly tumultuous and increasingly desperate relationship history until the bloody climax. Vermin deals with child loss in a maniacal and feral way. Obsessive bickering and unhinged storytelling escalates as Rachel and Billy try to manage a defiant rat infestation in their flat. In my interpretation, the rats’ existence represents each person’s attempt to deal with their carnal grief. Billy’s bloodlust against innocent animals demonstrates his one way to take control whilst simultaneously giving in to impulsive desire. Rachel’s visual hallucinations of rats clinging to her like a baby on her breast is her inability to move on- she sees her baby’s face every where looking for her. This play is exquisite at exemplifying the theatre of the mind. There are no props or set, and so all the twisted descriptions of sickening violence and breathless rage plays out even worse in our minds than any production designer could come up with. Superbly thrilling and acted throughout. This play takes our sensibilities hostage and shreds them for the whole hour. Sensational.

REVIEW: Lorna Rose Treen-24 Hour Diner People

Published on by Ben BreenLeave a comment

Rating: 4 out of 5.

“Lorna Rose Treen dazzles in this exciting fever-dream”

Take your seat at The Bluetit Diner – “named after the time I slammed my breast in the fridge” – sit back, embrace the chaos and meet some of its regular patrons. A young girl is giddy at her first ever kiss, an inept private investigator wallows in nostalgia, and a truck driver has ridiculously long arms. In a rapid-fire mix of comedic styles, 24-Hour Diner People is an anarchic hour of joke-packed character comedy that’s an immense amount of fun.

Treen’s last show, Skin Pigeon, spearheaded the recent resurgence of sketch comedy in the UK. Its refreshing mix of unpredictable absurdism and genuine sense of fun won both critical plaudits – including Chortle’s Best Alternative Act 2024 – and multiple sell-out runs in Edinburgh and Soho. It’s a tough act to follow, but the same magic is undoubtedly captured in 24-Hour Diner People. If Skin Pigeon was her breakout show, then this is Treen strutting confidently around the stage showing just how brilliant she is.

It’s certainly an ambitious undertaking, with Treen zipping in and out of costume. At one point, she plays both halves of a robber holding up a waitress to steal the diner’s tip jar, with a partially inflated sex doll taking the place of whichever character Treen isn’t currently embodying. It’s very funny, and very silly, but underpinned by real intelligence. 24-Hour Diner People’s dense mix of puns, audience interaction, physical gurning and running gags combine into a show that feels unique to the room, leaving the audience grateful to have seen the chaos unfold. There are even satirical jabs thrown in for good measure, including a deliciously naughty zinger about the assassination of Charlie Kirk.

Whilst not every moment lands – there’s an overly long dance break to polite chuckles, the private investigator gets fewer laughs than most, and some transitions fall a little flat – the script is so joke-dense that you’re only ever a few moments from another genuine laugh. This is helped by an irresistible momentum: the diner is a coherent backdrop for a mesmerising array of characters, culminating in a satisfying costume-changing finale, tied together with an overarching narrative about a bad review from The Sun newspaper. Accused of killing comedy, Treen jokes she’s now written a “sort-of” play to kill theatre too.

Leaving the Soho Theatre after 24-Hour Diner People’s hour of anarchy, you’re left wondering what exactly you’ve just witnessed – in the best possible way. This is an off-the-wall, intelligently surreal car crash of a show, confirming Lorna Rose Treen as one of the most exciting character comics on the circuit.

REVIEW: DARKFIELD: ARCADE

Published on by justinemsjonesLeave a comment

Rating: 5 out of 5.

“What makes it extraordinary is how singular the experience becomes”

Darkfield have built a reputation for leading the way in immersive theatre, known for crafting unsettling yet unforgettable experiences across the globe. They bring intimate moments that catapults you into a different world, very much like a video game.

The excitement of DARKFIELD productions is going in blind, and they ensure that with the total pitch black darkness you find yourself in for the 30 minute duration. After a briefing, you enter the space and are surrounded by 80’s arcade machines and fluorescent lights. Once the headphones begin the narrative and the darkness engulfs your senses, each member follows their own, unique journey through a cleverly crafted story.

What makes it extraordinary is how singular the experience becomes. Whilst there are grounding themes to keep everyone on a shared path, different choices unlock new characters, environments, and play times. No two journeys are quite the same, and when shared with a friend, comparing storylines afterwards is half the fun – like swapping notes on a dream you both had but in entirely different versions.

Darkfield’s work is also a reminder of how powerful theatre can be when it strips everything back to its rawest tools: sound, imagination, and a carefully designed environment. Without visuals to illuminate your journey, your mind does the heavy lifting, conjuring vivid images and scenarios that feel almost tangible. It’s this clever use of absence – of light, of certainty – that makes the return to the outside world feel sharper and somewhat changed.

Arts Council England has enabled the showcase of three different DARKFIELD experiences across Manchester ARCADE at Lowry, FLIGHT at Aviva Studios, and SÉANCE at HOME Manchester. They all run until 21st September and tickets are available here.

REVIEW: Fight For America!

Published on by Savinay SoodLeave a comment

Rating: 4.5 out of 5.

Immersive Theatre meets Tabletop Gaming for a unique and engaging experience

I wasn’t sure what to expect walking into Fight for America, the idea of playing a tabletop roleplaying game based on the January 6th riots. The show is at the Stone Nest, a hidden gem on Shaftesbury Avenue. Developed by the American Vicarious who are known for their innovative creations which reflect on America’s ideals, the show aims to have its participants reflect on the political turmoil surrounding the January 6th riots. Part traditional war game, part immersive theatre, Fight For America was an unexpectedly engaging and interesting night.

On arrival you are given a character pack, a card with a description and some abilities (some which require you to do public karaoke). Your characters either belong to Team Red (a coalition of Proud Boys, Oath Keepers, QAnon conspiracy theorists and right wing thinkers) or Team Blue (law enforcement). All of the characters are based on real people and it felt a little surreal to be wearing the name tag of someone with such diametrically opposed views to my own. In our run, there was a subversion of history, Team Red won and Mike Pence was hanged. This is not a foregone conclusion, and Team Blue have won before. 

The game was designed by Alessio Cavatore, known for his work on Warhammer 40k, who’s a major name in the Table Top Roleplaying Game space. The game is incredibly mechanically well designed, it is satisfying to play and simple enough to pick up more or less after a single round. However where the experience shines is in its theatrical elements. The set is truly phenomenal, painstakingly recreating where the actual rioters and police officers were on the day. The Stone Nest is intricately decorated, and features like interactive buttons, detailed animations and an excellent soundtrack bring the game to life. The evening is compèred fantastically by Dana Watkins. 

My criticisms are relatively small, it would have been nice if the rules had been posted more prominently, and if there were small stools for the shorter players (like myself!). My feeling is anyone who is willing to pay for the ticket, will have an enjoyable evening. Whilst I can understand the potential catharsis, I am unsure if this is the sort of thing that will change hearts and minds, but it is certainly satisfying to play. 

The game ends with sobering footage from the actual January 6th riots, followed by updates on what happened to each of the people you can play. Four years after the fact, their favoured president is in office, their sentences pardoned and commuted and the Overton window has shifted in their favour. It is hard not to think that Team Red won in real life too.

Fight For America! runs at the Stone Nest until 7th July.

REVIEW: Faulty Tower the Dining Experience at President Hotel

Published on by Ke MengLeave a comment

Rating: 4.5 out of 5.

Hilariously funny

Faulty Tower the Dining Experience at President Hotel is an unforgettable night that will quite literally have you laughing your head off. Whether you’re a lifelong fan of the classic sitcom in the 70s (like myself – a millennium weirdo wasting her time watch silly old sitcoms), or completely new to it, like my friend was, you’re in for a riotous time.

The experience is built around three iconic characters: the snobbish and neurotic Basil (Lawrence Watling), the sharp-tongued and domineering Sybil (Nerine Skinner), and the ever-clueless yet endearing Manuel (Leigh Kelly). Together, they faithfully recreate the chaotic, dysfunctional atmosphere of the infamous hotel in Torquay. Following from a “normal” wine reception operated by ushers and hosts, Basil and Manuel opens the show full of orders and misinterpretations, instantly transforming the guests from a well-organised, decent international hotel in London to this little hostel full of dramas and unstable comics in southwest England.

Once the chaotic bread service kicks off, your dining experience officially begin. Of course, in this madhouse, the only thing you can predict is that nothing is predictable. The show cleverly weaves in familiar plots from the original series, including horse racing bets, a fire drill, the “hamster,” and of course, the Germans. No spoilers here further, as I do not want to ruin your intact package of surprises.

Nevertheless, the real genius of the evening lies not just in these nostalgic tributes, but in the cast’s incredible improvisational skills to engage and play with the guests. They can always spot on a certain guest, taking up on the smallest cue and spin it into comic gold with effortless charm. If you’re something of a drama queen yourself, your willingness to join in will absolutely heighten your experience. But even if you’re more reserved, you’ll be thoroughly entertained as well. There’s more than enough madness on offer to have you in stitches.

As for the food – while I won’t pretend to be a food critic – I can faithfully report what was served: a soup starter (with a bit of harmless theatrical chaos thrown in), grilled chicken leg with vegetables for the main, and a cheesecake for dessert. Dietary requirements can be catered for, and the team will check with you in ahead of time. You’re not expecting for Michelin star dining here, but that’s perfectly fine. After hall, the food is solid, but the evening is all about the showy theatrical experience.

REVIEW: Descension

Published on by Maria Mădălina IfrimLeave a comment

Rating: 3 out of 5.

Chronic Insanity’s Descension – A Digital Theatre Experiment

Chronic Insanity’s Descension marks the inaugural production of FableMosh, the company’s new interactive digital theatre platform, offering an intriguing approach to audience engagement. The concept allows viewers to choose their own adventure by casting the actors who play each role, an innovative technique that enhances the experience of storytelling. However, rather than feeling like a visually dynamic theatrical performance, Descension leans more towards an interactive radio drama, relying heavily on audio rather than visual spectacle.

This production is strikingly static, with little physical action to captivate the audience. Given its subject matter—an exploration of what might happen if all migrants in the UK suddenly disappeared—the weight of the narrative rests on the script and performances. Descension undoubtedly tackles an emotionally charged topic, and reactions will likely vary significantly depending on the viewer’s personal experiences and perspectives.

One of the play’s central themes—the absence of migrants and the consequences of their disappearance—presents a critical exploration of immigration’s impact on the UK. However, the piece runs the risk of undermining its own message by placing disproportionate emphasis on the absence of manual laborers. While it is undeniable that certain industries would collapse without migrant workers, reducing immigration’s significance to incomplete manual jobs or care professions somewhat simplifies the broader cultural and economic contributions migrants bring. It leans on stereotypes, and personally, as a reviewer and as an immigrant, it did not exactly emphasise enough how the United Kingdom was built on the shoulders of immigration, as nearly 10% of the population has a foreign-born parent or grandparent. 

That being said, Descension succeeds in its portrayal of ‘otherness.’ The ensemble of actors effectively conveys this theme, though it would have been even more impactful had at least one performer strayed from the stereotypical English accent, reinforcing the piece’s message more explicitly. The production unfolds on top of an abstract collage of audio elements, creating a thought-provoking and immersive experience. Despite its limited visual dynamism, it engages the audience with a compelling spoken-word narrative and a well-articulated, resonant conclusion…. that is actually not spoken. 

As the first show in FableMosh’s six-month season, Descension sets the stage for what promises to be an ambitious digital theatre initiative. You can watch it online here: fablemosh.com. Future productions will include Joe Strickland’s comedy-horror Homunculus, a gig-theatre piece, and an absurdist nuclear-war comedy. With recordings available across multiple formats—including video, audio, and VR—the platform’s potential for innovation is exciting. While Descension is an interesting experiment, it highlights the challenges of balancing interactivity with theatrical engagement in digital storytelling. Whether this format can truly replace the immersive power of live theatre remains to be seen, but it certainly opens new avenues for exploration in the realm of digital performance.

REVIEW: Rosalie Minnitt’s Clementine

Published on by ciarahighamLeave a comment

Rating: 3 out of 5.

A whirlwind of interactive chaos, abstract comedy, and pop culture nods

The show launched straight into audience interaction, and for the first ten minutes, I found myself feeling a little on edge especially as I was attending alone. Clementine called on audience members throughout the show which left me feeling a nervous anticipation, unsure of what might happen next. However, as the story started to take shape, I settled into the show (helped by the relief of being seated at the end of a row, making me a less likely target!)

Rosalie Minnitt has an undeniable stage presence and impeccable wit, commanding the room with confidence and charm. She has the kind of energy that makes you feel like she would be the funniest person in any friendship group, always ready with a perfectly timed joke. Her ability to bounce off the audience and adapt to their reactions was a highlight of the show. The audience members brought on stage embraced the chaos, and their interactions with Clementine led to some of the best moments of the night.
The show was completely chaotic, moving rapidly from one thought to another. At times, this was utterly hysterical, but at other moments, it felt overwhelming, leaving me struggling to keep up. Some jokes landed perfectly, while others felt like they got lost in the whirlwind of rapid-fire storytelling.

A projector was used in the show, which at times was difficult to read due to being projected onto a curtain, meaning some jokes lost their impact. Pop culture references were scattered throughout the show, from Celebrity Big Brother’s “David is dead” to Love Actually’s “I look quite pretty”, and while some went over my head, others had me laughing out loud.

Despite some very funny moments, the concept of the show felt a little abstract for me. It thrived on unpredictability, which made for some brilliantly offbeat moments but also meant that the pacing sometimes felt erratic.

Overall, Clementine is a bold, eccentric character comedy filled with clever references, interactive chaos, and a leading performer who is undeniably talented. While it didn’t entirely click for me, it’s clear that many in the audience were fully on board, and for those who enjoy absurd, high energy comedy, this will be a hit.

IN CONVERSATION WITH: Lizzy Skrzypiec

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We sat down for a chat with Lizzy Skrzypiec about her latest project, Murder, She Didn’t Write, an this interactive show, where the audience becomes the author as a classic Agatha Christie-inspired murder mystery is written live.

1. What inspired you to blend the murder mystery genre with improv for Murder, She Didn’t Write?

We were already performing longform narrative shows and we were looking for a genre to really get our teeth into. We each brought a different genre we were passionate about to discuss and we were down to the two most popular genres of the meeting, ‘murder mystery’ and ‘westerns’. We saw so much room for comedy and play with murder mysteries and we were pleasantly surprised with how much collective knowledge we already had about the subject. It played to the strengths of our farcical, and ultimately quite hammy, style that it seemed like the perfect fit. That and if you saw our attempts at cowboy American accents then you’d agree we made the right choice.

2. How does audience participation shape each unique performance of the show?

Hugely. I cannot express how varied the shows can be. Each occasion the audience suggests has a whole world of unique characters and relationships. A murder at the opening night at the opera is very different to a murder at a plumber’s convention. Also every audience is different. When we played the Isle of Man, they were a very cheeky audience that appreciated any local references we put in. When we played at the Agatha Christie festival in Torquay they loved the drama and the mystery of the show. They were a very studious audience.

3. As the director, how do you guide the cast to maintain comedic energy and coherent storytelling during completely unscripted performances?

I think directing improv is more like being a manager of a football team. It’s about the preparation and the rehearsals, practising telling stories together and creating characters. It’s about sharpening our instincts, building comedic muscles and training our narrative intuition. It’s more about that, and feeding back after shows to make sure we are achieving shared aims. Then on the day of performance that’s when all that practise comes into play.

4. What has been the most bizarre or unexpected audience suggestion that led to a memorable scene on stage?

Oh boy we have had some unusual suggestions. We’ve had taxidermy conventions, solar eclipses, volcanic eruptions, a reunion for the survivors of the Titanic. Although one that springs to mind is ‘The Case of The Inflatable Banana’ at the reading of a will. The victim was fully inflated when the suspects discovered the body. As they inspected the victim, he then deflated and propelled himself all around the room like a balloon being let off. It was one of the weirdest and funniest body discovery scenes we’ve have.


5. With your dad’s background in the police force, has he ever given you any crime-solving advice for the show, even if he doesn’t consider it “real” work?

Haha! Yes, he has. The best crime solvers are often big on the details. Note down everything because something could turn out to be incredibly useful later. A suspect might start to get their story wrong if they are making it up, so remembering those details means that sometimes you can catch a person out in their own lie.

Also, we used to watch a lot of Midsomer Murders and dad would correctly guess the killer in almost every show – I was so impressed! When I finally asked how he worked it out he confessed that it’s usually just the most famous actor in the episode – but for ages I thought he might have been a bit psychic.