Skip to main content

Review of Murder On The Dancefloor at St. Albans The Martyr Church, Northampton

When you see the expanse of theatre that I do, sweeping from the cream of the West End, TV and film, onto fledgeling students, to youth theatre, amateur theatre, huge touring shows, it is quite a challenge to get the balance right in a review.

Most especially when going to a show such as Murder on the Dancefloor by St. Albans Charity Players. This is community, am-dram of the highest order, it is no frills, often loosely performed, but also occasionally unexpectedly very impressive as well. However what is key with this is that you look beyond any flashes of fluctuating quality and step back and see the importance that shows like this have to that community.

Murder on the Dancefloor takes dance show Strictly Come Dancing as its background and shakes an interactive murder mystery stick at it. It is always truly silly, as one of the character names, Crane Breville-Hardwood suggests. It is filled with the most garish of typical dance scene dresses, all overdressed, over made up and blinding colours. Also, those costumes adorn the most ridiculously over the top characters, caricatured within an inch of their lives.

So we have the insanely camp Marcus Hillery played with brilliant relish by Brian Roberts, then the creepy Lawrence Bough (Derrol Barnes) peeping on the ladies dressing rooms, and you have the costume mistress, Roxy Rhinestone (a gloriously bitchy performance from Jerry Delaney). Wherever you look in Murder on the Dancefloor you see the brightest and weirdest people, and for the best part the cast bring them vibrantly to life.

Colin W Gasson's script is clever enough to offer intrigue and it weaved a spell around many present, myself included, who failed to spot the actually rather obvious culprit, despite it in true Agatha Christie style laying the blame at potentially everyone. However, on reveal (once the inspector had got up to speed), it actually turned into a rather good solution, which I was sad to have failed to spot. The event was also enhanced by some lovely little performances from Top Hat Theatre school.

It all created what was a simple, yet thoughly entertaining afternoon. It ended rather dramatically and caught pretty much all of us unawares with the staging, and was a little surreal at times. However, this is just simple harmless entertainment and at the end of the day, something that I enjoy as much as the stars of the big stage. The theatre is at all levels, otherwise, it doesn't exist at all.

Performance reviewed: Saturday 28th October 2017 (matinee) at St. Albans The Martyr Church, Northampton.
Murder on the Dancefloor ran until Saturday 28th October 2017.

Popular posts from this blog

Review of Cluedo 2 at Milton Keynes Theatre

Back in 2022, the original Cluedo stage play, based on a 1985 play by Sandy Rustin, itself based on the cult US film Clue , journeyed to Milton Keynes Theatre as part of a UK tour. It was, it has to be said, an average affair, made good by some excellent staging and at times a very fair tribute to the original board game. Now two years later, the success of that tour clearly warranted a return to the franchise and we find Cluedo 2 now on stage at Milton Keynes Theatre. So, is a follow-up warranted, and does it address many of the issues of the original? Let's find out. Unlike the original and with no film source material to create a second play from, legendary TV comedy writers Maurice Gran and Lawrence Mark have taken the helm to provide the script for this production. Sadly, the legendary writers have for the best part plowed through their archives of extremely dated, and tiresome comedy. Much of the script is heavy on the obvious, high on the cringe, and while at times it can

Review of UoN Fringe 2019: Working For The Man by Naked Truth Theatre at The Platform Club, Northampton

When looking at the prospect of the Fringe performance Working For The Man , it is slightly difficult to work out who is the bravest person involved in this remarkable one performer, one audience member show set totally within or around the edges of a car. I guess I would in my case, say myself, but it takes some daring for performer Ellie Lomas of Naked Truth Theatre to also create a piece that offers the boldness that it does. Working for the Man is perhaps unsurprisingly about the sex trade, and explores exploitation and how, or if, prostitution is taken as a serious profession. It involves no live audio dialogue from performer Ellie Lomas, instead, she inhabits a purely physical performance, that is progressed by the use of a pair of headphones which you are given at the start. Across this audio are instructions of what to do. "Get in the car", "sit in the middle seat in the back", "open the glove compartment" etc, as you move to different areas

Review of UoN Fringe 2019: Unveiled by Myriad Theatre at The Platform Club, Northampton

It is safe to say I think that reviewer and show maker alike never set out to deliberately write a bad review or create a bad show. There is simply no logic in it really for the latter, I mean why would you? However when the latter occurs and the former is there in the audience, things will end badly, and for me, it gives me no enjoyment. For my penultimate show, Unveiled , at this year's University of Northampton Fringe Festival, Myriad Theatre performer Isabella Hunt explores what marriage means to her in what ends up being just 18 minutes of a show that sadly goes nowhere. Marriage to Hunt it seems involves intermittently putting on and taking off a succession of dresses, amongst a collection of anguished thoughts mostly that mainly involves an outrageously over repeated physical piece. There is some very brief interaction with the audience among the lines of "how many of you are married?" and other light thoughts, where the answers are written onto a dress, the