Midnight Murder at Hamlington Hall

Despite the rather stodgy British title, Midnight Murder at Hamlington Hall is a new Australian play, originally commissioned for Sydney’s Ensemble Theatre. It’s the opening night of a new murder mystery, presented by amateur theatre company Middling Cove Players, and many of the cast have 'tested positive’. As, for reasons familiar to many companies, the show must go on, the three remaining actors and anyone else that they can co-opt, pitch in to do the show.

Played on a traditional drawing room set, expertly designed and constructed by Alistair Woodcock, this is a play in two distinct halves. Act One is a backstage comedy that takes a wry look at am dram, with characters those familiar with theatre will recognize and love. Act II is a fabulous Coarse Acting production in the tradition of Michael Green’s The Art of Coarse Acting or The Play That Goes Wrong, a well-executed, cleverly presented disaster.

Featuring a clever lighting design by Michael McAllan, theoretically operated by the Stage Manager’s 13-year-old niece (actually by Callum Hunter), directors Kirstie Francis and Sarah House make use of the whole theatre space. Several jokes play especially well in this venue, especially when a party begins next door - as anyone who has ever watched a show at Garrick when a 21st is happening literally in the hall next door will relate to. Art imitating life in a funny, but in a  slightly traumatic way.

Strong performances, bordering on the manic, abound. Meredith Hunter’s Phillipa, an actress with an inflated opinion of her own ability, is a recognisable delight - and indeed Phillipa’s ability to play three roles in the second half is impressive. Jarrod Buttery’s blustery Barney (the sort of actor who gives his fellow performers notes) is annoyingly excellent, and Jarrod masters Barney’s breakdown in Act II with panache - a deserved audience favourite. 

In his Perth debut, and possibly his biggest role to date, Jim Brown captures director/writer/actor Shane beautifully in a believable performance of an unbelievable performance. Jay Shaw is strong (and a little scary) as Stage Manager Karen. Olivia Keary is a delight in her brief appearances as Karen’s niece (definitely a young performer to watch) - and Jack Riches’ later-in-show performance is top-notch.

A show that will appeal to any performer who has faced disaster on stage or anyone that has pre-show nightmares - because this is a “showmare” come to life, Garrick’s Midnight Murder at Hamlington Hall is a loving tribute to the disasters that can befall any production.

Kimberley Shaw