Cluedo

The Belgrade Theatre, Coventry. 

Directed by Mark Bell. 

*contains spoilers*

 

When a group of strangers arrive at Boddy Manor, unaware of the evening that's about to unfold, they are blackmailed into taking part in a real-life murder mystery. Exposed and deceived, each character is dangerously close to being a victim themselves, treading carefully as they search the mansion for the murderer.

It certainly feels like we are locked in another of the rooms ourselves, onlookers into an impressive stately home. We sit back as the cast rush on and off stage through the endless number of doors outlining the stage, they open and close ominously and we catch glimpses of the library, study and bedrooms to follow. An incredibly dressed set. Its flexibility aids the pace of the show as the panels open, revealing new spaces for the actors to inhabit.

The mystery of the space reflective of the mystery of the plot.

 

 

It is embodied by an impressive cast, in particular the lively Wadsworth (played by Jean-Luke Worrell) who leads the plot along, introducing the cast and outlining the narrative. His clarity sustains pace throughout, talking at great speed accompanied by constant animation as his eyes dramatically widen at the audience, warning of the downfall to come. His death the most theatrical of them all, as he comes back to life- singing “false alarm!” and then falls again, eventually clutching at Lawrence, crying out “Larry” as he slowly melts to the floor.

 

 

The ‘blackmailed’ become somewhat of an ensemble as their movement moves between a sequence of sleek choreography to the traditional naturalism. It is visually dynamic when they all move at the same pace and hilarious when the chandelier falls from the ceiling, everyone dropping  to the floor in slow motion, their faces looking as if they are about to be crushed. Except, the pendent is simply lowered by a string, the only threat being the intense music building in the background. A cathartic release when all is silent, and we realise the theatricality of it all.

This collective physicality is a sign all along of how similar they all are.

 

 

Mark Bell has created, with a great cast, a traditional ‘who dunnit?’ that is smooth and flawless until the end. Despite its dense text it feels entirely digestible. Most likely a result of the slap-stick style comedy that breaks up the dialogue, a great success with the audience. From slow, dramatic deaths that flicker between reincarnations and collapsing on the floor to a speed run of the play so far at the start of act two and repeating scenes with alternate endings, it is both classic in form and entirely modern.

 

A great watch if you love to unravel a murder mystery whilst being entertained by non-stop melodramatic humour.

 

Reviewed by Freya Batstone

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