The Mystery of Edwin Drood

Let me guess, you’re not familiar with this musical. You should be. Phoenix Ensemble have taken on some massive productions since the Covid restrictions lifted and this show is no exception. Approximately twenty minutes into the first act, it was obvious how pivotal the casting was to this production. Without a cohesive cast who are masters of improvisation, song and dance, it’s very likely this production would fail. In this case, Director Shane Webb has succeeded beyond belief.

So, what is The Mystery of Edwin Drood about? Adapted from Charles Dickens’ unfinished novel of the same name, The Mystery of Edwin Drood is presented as a play within a play by a kooky Victorian theatre company. This musical murder mystery combines raucous comedy, lush tunes, and audience participation to create a festive atmosphere in which life is celebrated, even if death is integral to the plot.

Upon entering Phoenix Ensemble (The Tin Shed) and looking for our seats, we were immediately involved with the cast, who chatted with audience members and even led us to our seats.  Cockney speech accompanied the Victorian costumes, fitting the mood and era in which the mystery took place. Initially there was a jumble of people who ultimately developed their characters so that I felt I knew them and their character.  This is an important factor in the play because the ending depends on the audience and how they perceive these characters.  The audience takes over where Dickens left off – he died before completing the novel on which the play is based.  Often, it was hard to know whether the cast or the audience was enjoying the play more.

It’s almost unfair to single out individual members of such a talented cast in this review. Overseeing all the pandemonium is Shannon Foley as a wily ringleader and comic Chairman of the music hall festivities, who never lets the onstage pace slacken while he mercilessly ribs the audience like a Victorian stand-up. (He also plays the town’s mayor with a hilarious use of his tongue that needs to be seen, rather than described).

Carolyn Latter, as opium den owner Princess Puffer, possesses a marvellously rich, bluesy voice, put to good use on “Wages of Sin” and “The Garden Path to Hell”. Carly Wilson has a shape-shifter’s knack of transforming from a boyish Edwin Drood to a haughty actress to a goofy, bearded Sherlock with equal aplomb. She and soprano Hayley Marsh, playing Rosa Bud, effectively present one of the show’s strongest songs, “Perfect Strangers”.

If you are easily ‘creeped out’, I highly recommend looking away any time John Jasper’s character enters the stage. This is a compliment to Zach Price, who brings a realistic look at a tortured love-struck soul to life with an incredible voice (and moustache!) to match.

The brother and sister duo, Helena Landless (AJ Betts) and Neville Landless (Puawei Herewini), are phenomenal in their stage presence. Without giving one of the endings away, let’s just say their duet at the end of Act Two is unforgettable for all the right reasons.

While the ensemble and swing members can’t be overlooked, there isn’t a review big enough to go into detail on the high standards they held themselves to throughout the show. From the entrance into the theatre, this team was on. Through a wild ride of improvisation in the second act, it truly felt like a theatre company coming together to get each other through it. It also can’t be overlooked that this production is over two and a half hours long, with several different endings and yet not once did this cast lack energy. James Hitchens is a particular highlight in this production (this will make sense once you’ve seen the show!).

What shines in this production of Drood is what always strikes you at Phoenix Ensemble - a trademark professionalism, which extends from its sets, costumes, choreography (Storm Fraser) and lighting to a fluid side-stage band (Benjamin Tubb-Hearne). A lot of work, both onstage and off, goes into making such an evening soar.

The combination of established, professional actors with emerging talents from the wider Brisbane and Gold Coast community is an inspired and hugely successful one, lending the production intense vitality. Shane Webb is to be highly commended for this decision and for his direction of the show in its entirety. It is a finely wrought and polished production - a piece that seems to function seamlessly despite its striking scale.

To paraphrase the last lines of Holmes’ most famous pop hit, come to ’Drood” and escape.

Mel Bobbermien

Photographer: Kenn Santos / PIF Photography