Manchester Theatre News & Reviews

REVIEW - Murder at Midnight is a masterclass in comic timing producing a fun night for all

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We went to Lowry in Salford to see Murder at Midnight. Read what our reviewer Karen Ryder had to say about this new comedy thriller...

Torben Betts latest play, Murder at Midnight, is a terrific tangle of genres, intertwining farce, comedy, and thriller into one murderous play. It never takes itself too seriously and with an extraordinary cast that blend together with delicious ease, it makes for a great night out. It is ludicrously bonkers, a little twisted, and full of insane sanity. You may question what on earth is going on, but that’s its brilliant intention, to absorb the quirky space it creates for its audience of expecting the unexpected. It defies genre, doesn’t fit the mould of any other play, runs at breakneck speed, and this is why I thoroughly enjoyed it. It’s new, inventive, and categorically unique. If you try to compare it to anything else, you’ll come unstuck, so my offering is to absolutely go with the flow and allow yourself to flirt with this undefinable product of Torben Betts’ wonderfully creative mind.

We are welcomed into this zany world as Jonny The Cyclops returns home to his lavish mansion, a home he funds from his criminal activities. He shares his home with his outspoken mother who wants to believe he can do no wrong, and his latest girlfriend, a brash, bold character who doesn’t always ’get it,’ and wears shadows of crippling self-esteem issues married with dollar vision. As a cacophony of characters begin to fill the mansion, each unaware of the others presence, secrets, lies, dodgy dealings, promises, and threat begin to permeate this dangerous dwelling. Can Paul, an undercover police officer, be successful and stay alive? Will Russell (or Coco) get more than he bargained for upon entering the Drinkwater mansion? Can Jonny’s associate Trainwreck find peace amongst his white powder? Will Jonny’s girlfriend Lisa figure out what is important? Will his mother Shirley’s premonitions come true? Will Shirley’s carer Cristina make it out alive? And will Jonny be King of his empire once more or be met by Robbie Williams’ angels? In the midst of so many questions, there is also the small matter of the disappearance of Jonny’s ex wife Alex to solve, and with the potential for more death hanging in the air, who will live, who will die? Who will be holding the weapon? And who will be the last person standing? This unusual mix of characters all find themselves suspects and possible victims in the dark and murky world of murder.

Murder at Midnight toured in 2025 and took a few months break at the end of the year, before rehearsals started again this month to start the tour once more. I’ll be honest in saying that I read a handful of previous reviews on the show and they weren’t all entirely favourable, siting a lack of rhythm, abrupt changes in style, delivery, and story resulting in confusion. I did not see the show previously, so hold no opinion, but I do know that what I saw at Lowry led me to disagree. Either the show has reflected on these issues itself and reworked things, or it hasn’t changed anything and I stand alone in thinking that this was an exquisite piece of theatre that has found its identity as a farce, swimming in the luxury of its own dark and twisted humour. There are some moments of jump scares, perhaps not as many as an audience might expect with it being promoted with the word thriller in its description, but it is a comedy thriller, and that’s exactly what I felt I watched. There was only one moment that landed with a bit of a jolt for me, and it was the sudden 360 of Russell’s choices that seemed to come out of nowhere with no build up, so this moment did feel a bit like pulling on the hand break and making a quick U-turn. Other than that, I found that I fully embraced and enjoyed the whole show as a new experience.

With direction from Philip Franks, this cast are fully engaged, extremely hard working, and clearly know their characters trajectory throughout. The way each conversation is effortlessly woven to make a tapestry of separate speeches brought together as one is mesmerising and entirely without pause, hesitation, or overlap. It is a work of art. The set is designed by Colin Falconer and is integral to the ever-changing demands of the play. It feels homely, whilst simultaneously managing to convey it holds deep, dark secrets. The set is very much a part of the action, the storytelling, and the atmosphere, with many surprises lurking in unexpected places. It caters to various scene switches with ease and its depth feels quite glorious, impactfully solidifying the grandeur of Jonny’s wealth and lavish lifestyle. And hey, with a room dedicated to Robbie Williams – I’m sold!

With a fantastic cast full of household names, their trust and ease with each other is apparent throughout. Jason Durr (Heartbeat, Casualty, Cluedo 2) is our charismatic, charming bad boy Jonny the Cyclops, who gives comedic gold wrapped up with an underlying menace that explodes at will. He manages to be intimidating and vile whilst likeable, and moments of underlying pain break through to create moments of vulnerability as to his upbringing and the secrets he feels he has to hide. It is a sensational performance. Susie Blake (Murder In The Dark, Coronation Street, Vic Wood, Fisherman’s Friends The Musical) is absolute genius as Shirley. She speaks her sharp observations, cruel comments, and hard one liners as innocently and calmly as if she were asking you to pop the kettle on.

It had the audience rolling with laughter at her wonderful ability to time a joke to perfection. Her physical comedy is to die for too, with her reaction to seeing Coco for the first time bringing the house down. It is an absolute privilege to watch Susie Blake at work. Max Bowden (Eastenders, Midnight Cowboy, Birdsong) is Paul, the worst cop in history, and is fabulous at bringing us this confused and chaotic character who can’t decide if he wants to catch a murderer or get his leg over more. His physical comedy is brilliant, a whirlwind of rolling around, balancing upside down on a sofa, and being flung around the bedroom! Katie McGlynn (Hollyoaks, Coronation Street, Waterloo Road) is Jonny’s girlfriend Lisa and brings us something different yet again, wearing her every emotion, confusion, and deliberation all over her face with continuously joyous expression. She has perfected the art of not being able to sit or stand still, always jittery with movement, and so full of personality that you couldn’t help but love her. Peter Moreton (Witness For The Prosecution, Shakespeare In Love, Doctors) as Trainwreck is a comedic genius! He had me howling with his delivery time and time again, making so much of his work seem like impulsive reactions and thoughts. His character is too hiding a secret and is clearly in a lot of emotional pain, so when this is combined with his violent streak, that weirdly comes from a place of love, he can be wielding a crossbow one moment, then stopping to check you’re alright the next with quiet, innocent affirmations. It is just brilliant!

Iryna Poplavska (Ugly Betty) as Cristina does an amazing job of keeping her character in a state of panicked frenzy and fear throughout without it ever staying in a one dimensional place. Her fear states are created by numerous sources and her performance reflects this clearly. Callum Balmforth (Box Of Delights, Doctors, Queen Cleopatra) as Russell does a great job of bringing us a man child, trying to be a villain through circumstance rather than choice and discovering he doesn’t really have the bottle for it. He shows us the delicate balancing act of fight or flight and manages to bring us amazing physical comedy even when hidden behind a mask. Police Officers are portrayed by Bella Farr (The Mousetrap) and Andy McLeod (A Good Girl’s Guide To Murder) and set the comedic tone of the show from the off with their mix of deadpan and obvious observations, whilst posing for selfies with murder weapons. This cast is seamless and the flow of the piece is testament to their trust in one another.

Murder at Midnight is a masterclass in comic timing. It has managed to find a new twist on the genre of farce and elevate it for a modern audience. With killer lines, eccentric and well defined characters, and acting to the highest standard, this is a brilliant night out to help blow the cobwebs away, indulge in authentic laughter, and see these household named actors as you’ve never seen them before. It is entirely different from Torben Bett’s Murder In The Dark, and does focus way more on fun than fear, so be fully aware that this is a night with over the top comedy at its heart, delivered with a devilish dark humour, rather than a psychological thriller. There is always something going on, the action never stops, and so as the play begins with the end, showing us the multiple murders to come, you’re invited into a game of whodunnit. Who is going to be murdered? With what weapon? Who killed Alex Drinkwater? So, get yourself over to Lowry and visit the Drinkwater Mansion. But trust no one, don’t pet the dogs, and don’t eat any pork products! Praise Robbie Williams, take heed of Shirely’s ramblings, don’t mention Alex, and you might just survive Murder at Midnight!

WE SCORE MURDER AT MIDNIGHT...