Ferndown Drama 
Barrington Centre, Ferndown 
Jade Morrell 
23 October 2024
‘Murder in Play’ by Simon Brett is a witty and engaging dark comedy that blends elements of farce with a classic ‘whodunit’. The plot revolves around Boris Smolensky an egotistical director producing a budget murder mystery, Murder at Priorswell Manor, with a cast more focused on personal rivalries than the play itself. As tensions rise, fiction mirrors reality when one of the actors is murdered, and the remaining cast must solve the mystery.
Right out the gate, the interactions between the characters—actors embroiled in personal conflict – is made totally clear. Bouts of tension can be seen between characters Renee and Christa played aptly by Karen Ward and Jenny Sibley. These actors gave some fabulously catty and scornful exchanges, and I would even go as far to say these two could give Joan Crawford and Bette Davis a run for their money on the feud front! Wonderful characterisation from both ladies, totally believable.
In the role of Boris Smolensky, the pompous and womanising director, played by Peter Watson was authentic – as was the Russian accent throughout! Bravo!! His portrayal of Boris was both authoritative and inflamed, capturing the character’s frustrating attempts to keep the unruly cast in line. His comic timing was spotless.
Talking of comedy timing, Mark Ward did a great job as the fading Shakespearean actor Harrison Bracewell/Mr Papadopoulos’ in the play, who is much fonder of the bottle and quoting his past theatrical stories than learning his lines for this play! Mark provided us with so many laugh-out-loud moments, most of which came when inside that infernal cupboard!
Dawn Hollington playing Sophie Lawton gave the audience a solid character in the form of ‘Triggs’ the housemaid in the play… an actress with little or no talent who continually gets forced into taking on roles as a maid, but whose real character comes to the fore in Act 2 as a ‘super sleuth’.
Also, a mention to Alison Page as Pat, the long-suffering ‘stage manager’ who provided a wonderful foil to the chaos around her. Her exasperation was palpable, and her deadpan delivery of lines grounded the absurdity of the situation.
The director kept scene changes to a minimum, with just the one brief blackout required. Together with simple lighting, one set and the actors having perfected their entrances and exits, it made for a pacy and enjoyable viewing. One technical treat for me – I really commend theatre groups where a real authentic gunshot is used.
If I had to note on anything slightly absent, it would be a little more projection. The cast didn’t wear microphones, so at some points a few characters lines were lost from the softer-spoken actors and with a play like this, you can’t afford to miss any plot.
Overall, the cast did an excellent job capturing the essence of Simon Brett’s characters—each one a caricature of a specific theatre personality, from the egotistical lead to the harried stage manager. The play’s “play within a play” structure adds layers of complexity and director Estelle Hughes has really brought that out of her actors.
Their interactions heightened both the humour and the tension of the play, leading to an entertaining and well-rounded performance.
If you haven’t been to a Ferndown Drama production, I’d really recommend you grab a ticket for any of their remaining performances. Tickets are available for £12, with both evening and matinee performances scheduled.
