Bruiser Theatre Company has a long history of performing fast-talking, fast-moving, physical theatre. But they’ve somewhat outshone themselves with this two-handed, multi-roled whodunit with four-handed piano playing, dancing and a big disco number.
Stuart Marshall’s vaudeville theatre set sits on the MAC stage, with coloured string hinting at a detective board mapping out the suspects and the clues. While the set is more elaborate than some of Bruiser’s previous work, its doors, coat stand, and convenient baby grand piano, are very well used.
While Rob Gathercole (playing the officer who hopes this tragedy might be his step up to becoming a detective) snoops around the apartment, Will Arundell swaps between the victim’s wife, party guests, and even some nine-year-old choristers who lurk in a back room. Will a firm grasp of investigative protocol be enough to solve the case? Will the author’s wife ever get to return to the stage and perform her big number? Will the cast make it through two-show Saturdays? Can the crew get the set and lights in and out of five different theatres in five days after the run at the MAC? All will be revealed in good time.Joe Kinosian and Kellen Blair’s script is full of slapstick back-and-forth wordplay. On top of that, the actors have to switch accents, posture, hats and props as they bring to life a growing list of people loitering in the flat, many of whom have a pleasing habit of bursting into song. The talented pair, accompany themselves and each other on the piano, producing a crazy, camp, and very entertaining night at the theatre. If just left to the performers, the quick fire routines could be routine. But combined with so many synchronised lighting and sound effect cues, it’s quite a feat to pull off such a well-crafted and solid performance.
It’s a riot, and Lisa May’s direction never lets the energy lag. Gathercole and Arundell have built up incredible stamina during rehearsals and are as nimble on their feet as with their fingers. In what feels like a musically-infused Agatha Christie mystery transplanted to 1950s small-town America, anachronisms abound, with a mobile phone replacing a traditional landline, and a crowd-pleasing mention of Larne! Name another show that could rhyme diarrhoea with IKEA and Mamma Mia. There are plenty of knowing meta nods to musical theatre, numerous subplots, and a pleasing moment of improv involving an audience member who helps with one scene.In the past, I’ve been unmoved by some shows with elaborate physical theatre. Being clever and well-executed is not an end in itself. But Murder for Two is in a different league. Bruiser’s interpretation of this play left me as giddy as the rest of the audience with its 90 minutes of absolute mayhem rewarded with a satisfying finish.Murder for Two runs at The MAC (co-producers with Bruiser) until 11 May before touring through Lisburn (Wednesday 14), Letterkenny (Thursday 15), Newtownabbey (Friday 16), Armagh (Saturday 17) and Derry (Sunday 18) ... tour details on the Bruiser website. There’s no excuse not to see it.
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