‘Cluedo’ review
‘I found myself chuckling away at the excellently imagined comic murder mystery, which was even able to alleviate my post-Halloweekend blues.’
Please note: there are some spoilers ahead!
When I first heard that Oswald’s Players were staging Cluedo, a play based on the famous board game, I wasn’t sure what to expect. To my surprise, I found myself chuckling away at the excellently imagined comic murder mystery, which was even able to alleviate my post-Halloweekend blues.
The direction of this large ensemble cast, steered by Lulu Dodds, is highly impressive. Each character is afforded space to enjoy their individual comic beats, whilst the investigative interludes, which see characters moving fluidly between different locations and tones, are particularly effective. The direction and sound cues by Sound Designer Tom Rickman are most profoundly in synergy, punctuating each joke, revelation, and surprise expertly. Although the first half of the play is heavily reliant on long bouts of exposition, the performance really hits its stride once the investigation begins – Dodds leans into a hilarious balance of camp and thriller as the murders unfold. A real standout moment is the dual murder at the beginning of the second act, as the stage is divided between two unknowing victims, picked off by disembodied hands, brandishing iconic Cluedo staple: the candlestick and the rope.
Even despite the large ensemble, each character truly has their moment to shine. Between the nail-bitingly awkward dinner party that begins the play and the chaotic revelations of the increasingly ridiculous murder, comedic timing is clearly a strength of this cast who share a very natural chemistry. A standout performance is executed by Ollie Painter in his role as the bombastic bachelor Colonel Mustard, rousing laughter from the audience almost at every line (and even when he forgot the vital wrench for his “whodunnit” reveal). His Mustard also has superb interplay with the wry Miss Scarlett, performed by Maisie James. Due credit must also be given to Alex McNeice for their Wadsworth/‘Mr Body’ roles, which include single-handedly recreating all action in the play up to the final denouement in a seriously impressive piece of physical comedy. Dalya Kayalarli’s Yvette is charming as the French maid – who clearly speaks no French – and Ella Beresford’s Mrs Peacock shines in early scenes, carrying the comedic beats of the dinner party. Abbie Wells’ Mrs White also had many complimentary moments, embodying the mysterious past of Mrs White wonderfully. Nicholas Herod’s Professor Plum is the perfect combination of smarmy and inept, and Clem Charles and Dan Haines show impressive range in their multi-role parts, even if the highly aggressive cook, played by Charles, meets too untimely an end. Finally, the ending twist for Ilan Miller’s revered Reverend Green is executed impressively, transforming himself from stumbling vicar to cocky desk Seargent, elevating the final scene from its string of “whodunnit reveals” to a compelling end.
Executed by Clem Charles and Elena Bromidge, the staging of the play is cleverly done, dividing the stage into two rooms, alongside the door for dramatic entrances and exits, which is of course central to the “whodunnit” premise. However, I found myself wishing we had more obvious references to the original game, although the brief cameo of the Cluedo board was much appreciated. Yet, the numerous transitions of the different rooms is slickly handled by the stage crew, led by Stage Manager Oliver Storey and Head Stagehand Sia Riley.
Cluedo is therefore an uplifting and witty end to my weekend. As a fan of comedy, I am delighted to find a full-length comic show as well-realised and performed as this one.
By Milly Lovering.