The latest outing from writer Torben Betts is a gleefully farcical affair that never once pretends to be believable. From the opening moments where the audience is faced with the aftermath of what is described by a policeman as murderous ‘carnage’, Murder at Midnight announces itself as broad and proudly and knowingly over-the-top.
The decision for our theatregoers tonight is not whether any of what they witness makes sense but if they are willing to go along with the foolishness. If they do, there is a great deal of fun to be had. Resistance will result in the play’s relentless absurdity becoming quickly wearing.
The vague plot centres around the home of Jonny Drinkwater, a local gangster, on New Year’s Eve, where a series of events will lead to a body count that rivals a Tarantino film. Along the way there are hidden identities, illicit encounters and an investigation into the fate of Jonny’s ex-wife Alex.
The show and cast certainly commits to a steady stream of jokes and moments of sheer slapstick. Any genuine attempts at drama or emotional weight have no chance. There’s no real tension, swallowed up immediately by physical comedy and gags. But, if you’re prepared to accept an emotionally shallow story with 2D characters, it somehow remains thoroughly entertaining.
Colin Falconer’s multi-level set is visually impressive and inventive but does create mild sight-line issues for those round the sides and also makes some points of the story hard to follow. Constant bouncing between rooms results in losing track of the various narratives being woven and leaves some actors fidgeting in the low light, waiting for the story to return to them. What should feel like slick, choreographed chaos can instead tip into confusion.
Performance-wise, the cast is largely strong and clearly enjoying themselves. Jason Durr clearly relishes his role as the villainous gangster, Jonny aka ‘The Cyclops’ on account of his eye-patch, leaning fully into the melodrama of his part and Jonny’s ridiculous love of Robbie Williams. Susie Blake matches his energy excellently as his dotty mum Shirley, delivering barbs with impeccable timing in Shirley’s lucid moments, and bringing an endearing sense of eccentricity.
Max Bowden and Peter Moreton are fun as, respectively, the woefully-out-of-his-depth policeman Paul, and Trainwreck, Jonny’s dopey, trigger-happy sidekick. Katie McGlynn plays Jonny’s moll, Lisa, chewing the scenery with infectious enthusiasm but with an Essex accent that grates to the point of distraction. Iryna Poplavska gives a strong performance as home help Cristina, often seeming as baffled as the audience.
The overall vibe is like an episode of Eastenders directed by the Carry-On squad, with sharp wordplay and bursts of inspired silliness sitting alongside absolutely groan-inducing dumb jokes that teeter between knowing ridiculousness and laziness.
Director Phillip Franks has just about kept the production on the rails but occasionally fails to reign in some acting so hammy it belongs in a butcher’s window. It’s a chaotic, messy affair, but frequently funny, with rewards for those willing to surrender to the madness.
Murder at Midnight runs till Saturday 24th January before touring the UK, with tickets available at https://thelowry.com
Reviewer: Lou Steggals
Reviewed: 20th January 2026
North West End UK Rating: