Strictly Murder by Brian Clemens, Marine Theatre – Lyme Regis, until 13th August 2025, 3☆☆☆. Review: Cormac Richards.

Photo Credit: Gilroy Theatre

Strictly Murder by Brian Clemens, Marine Theatre – Lyme Regis, until 13th August 2025,

3☆☆☆. Review: Cormac Richards

“A thriller that works on some levels.”

The scene is set so very well; a rustic rural house, the sounds of a French chanteuse and the realisation that we are in the build-up to the Second World War and then the mystery begins. Brian Clemens had a long and illustrious career – mainly as a writer and producer for television;  his ventures on the stage have been occasional. ‘Strictly Murder’ was written in 2006, at a time when ‘strictly’ was less associated with a certain TV dance show – there is no connection!

Always when writing about a thriller, the reviewer needs to avoid dropping plot points all over the place; Clemens uses a number of well-known devices in his storyline as well as some new ones. The writer is always trying to outwit the audience who in turn try to second guess the twists and turns of the story. Suffice to say, not everyone is who they appear to be and trying to be one step ahead with this play will keep you busy throughout.

As this reviewer has come to expect of Gilroy Theatre, the performances are universally well presented. Mitch Capaldi gives the central character a nervy edge which creates much of the mood and mystery from the word go; with plenty of business to undertake, which he does expertly, there is also an air of threat when he is on stage – just what is needed. As his girlfriend, Suzy, Jessica Olim is also very on the edge, but in a different way, and, as the character develops, her paranoia increases which is very effectively portrayed. Is the character of Josef as unworldly wise as he seems? Andrew Fettes, once more, fills out a small character with three-dimensions and brings some lightness to the proceedings. Neil James, in his third play in as many weeks, is the confident and efficient Ross who appears to have lost his way; another smart and compelling performance from this actor. Also on play number three, Victoria Porter is aloof and cold as the face of officialdom which sends a shiver down the spine.

Though having an interesting setting and backstory, the play itself suffers from a sluggish exposition and some rather clunky dialogue – some of which is unintentionally amusing. When the denouement comes there is a certain incredulity which rather pushes the boundaries of believability. The play falls somewhere between the stage thrillers of Francis Durbridge and the adaptations of Peter James’ novels; it is certainly entertaining but is a bit of a stretch at times.

A director works with the material they have and Su Gilroy builds a great atmosphere and creates plenty of tension throughout – you never know who is going to appear through the front door which puts you on edge by itself. As mentioned, the set is well thought through and it is filled with appropriate plots and with good costumes, the period feel is presented well.

So, no complaints about the performances or production itself, but the play is a bit of a trudge at times. Having said that, this is still a thriller which works on some levels and I defy anyone to guess the ending by the interval.

Cast

Peter Meredith – Mitch Capaldi

Ross – Neil James

Miriam Miller – Victoria Porter

Josef – Andrew Fettes

Suzy Hinchcliffe – Jennifer Olim

Creatives

Writer – Brian Clemens

Director – Su Gilroy

Lighting and Sound Design – Steve Miller

Set Design – Robert Sherwood

Stage Management – Tom Neill & Chloe Townshend

Production Assistant – Gary Fish