Done to Death

Done to Death is a whodunnit featuring a group of famous mystery writers collaborating on a whodunnit. Consciously theatrical and slightly campy, it is being presented by Roxy Lane Theatre.

Judging from the costumes (by Kirsten Halford Bailey and cast) - especially those worn by Ben Adams, director Christine Ellis has chosen to set the play around the time it was written - 1970 - a good choice as there are frequent references to the “Latest technology” which would set it comfortably in this era. Set (at least initially) on a sound stage that is an exact replica of a creepy island home, Jim Chantry has created a creepy living room set, that is dressed convincingly by Kirsten Halford Bailey with great attention to detail.

There are some strange things about this set though - the doors on stage left are rarely used, with actors making entrances through a wall. Another door is at times a door, but sometimes a cupboard. An entrance through a bookcase is used without comment. 

Characterisations are well established especially the key five authors. Carly Zanik is believable as martini obsessed Jessica Olive, working well with Samuel Farr as her husband Whitney, making a promising Western Australian debut. Charlotte Weber has lovely diction and a wry humour as Mildred Z. Maxwell. Ron Arthurs brings class to Rodney Duckpin, while young crime writer Brad Benedict is played by Ben Adams in a welcome community theatre debut.

In smaller roles, Chris Harris plays TV host Jason Summers. Taking a nasty tumble off a chair on the night I viewed and recovering well. Prakriti Rayamajhi plays a number of roles effectively, including ill-fated maid Jane. Ian Fraser ably plays several parts including the compulsory creepy butler. Jim Chantry nicely lends an acting hand several times, while Kerri-Anne Mulley plays several first half roles nicely before heading home for an early night (she did not appear in the curtain call). Director Christine Ellis may also make a quick and clever cameo.

My reservation with this show is mainly with the pace. At times I felt actors were delivering lines that were “almost the right line” and that others were forced to improvise to accommodate. Pickups were not quite quick enough and there just generally wasn’t enough delivery confidence to make this show really fly.

Mystery lovers will still enjoy this very different, theatrically aware little play that is quirky and almost self-deprecating in its presentation. 

Kimberley Shaw