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The Poster
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The Poster |
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A bit of construction work and … |
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… the stage is ready to go |
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Jack the chauffeur (Jonathan Neil) and Bridgit the maid (Kathryn Kendall)
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Edward Bennett (Rufus Kendall) enters and vial-ates the Scotch with chloral |
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Sorel Bennett (Mel White) enters from the garden and tries to draw Edward's attention away from the Daily Mail crossword |
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Sorel has told Edward she's invited Walter Pearce (a politician!) for
the weekend. |
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Just then the phone rings: "A Victoria Van Roth. She's at the station demanding that Jack retrieve her" |
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Meanwhile Walter is about to arrive. Edward is ushered from the room and Sorel arranges herself decorously on the sofa. |
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Walter (Jo Smith) enters but his attempt to give his hat and coat to Bridgit is snubbed. |
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He offers Sorel chocolates (in reality dark Maltesers) … |
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… then gets down to the serious business of seduction! |
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… which is interrupted, first by the reappearance of Edward |
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… then by the hasty entance of Eric (Martin Wellen) 'the fanatic' |
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Eric is here to tell Edward that 'Conservatives have taken control of
Parliament' |
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This rather puts Walter off his stroke as he is side-lined by Sorel in favour of Eric |
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Victoria Van Roth (Karina Farnlucher) arrives and gets ready to demonstrate one of her exotic dances |
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She pulls Walter up to take part as a 'Wall' ("a barrier, an obstruction") |
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Eric thinks the performance was "plumb silly" – which arouses the wrath of Victoria van Roth |
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Then everyone goes off in a huff, leaving Walter to drink the doctored Scotch, eat a lettuce leaf, and collapse in a heap on the sofa – as good as dead! |
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The lights go out – characters creep around Walter in the gloom
performing various nefarious deeds, then there is the sound of a gun –
and the lights go up to reveal Alice (Tish Piwowarek) pointing a pistol
at him. |
Act 2
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Act 2 begins where Act 1 ended. There is confusion as Alice falls over and fires the gun again 'killing' Victoria's painting on the wall … |
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… which pleases her not at all. |
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Turns out Alice is very short-sighted and wasn't wearing her glasses
– horrendous goggles – for reasons of vanity. |
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Alice asks for a cup of tea – Sorel puts the gramophone on … |
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… and everyone carries on socialising around the dead body … |
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… which eventually get moved 'upstage'. |
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Over time. many home truths emerge, particularly around Jack's involvement with the ladies, and it all gets too much for Victoria who fires the gun at him … |
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… and then collapses on the floor, 'dead drunk'. |
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So who did kill Walter Pearce? You'll have to see the play to find out …
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Last weekend, I had the pleasure of attending Headley Theatre Club’s spirited production of Death by Design, a farcical murder mystery by Rob Urbinati. The play is a clever blend of Noel Coward’s witty drawing-room comedies and Agatha Christie-style intrigue, with sharp dialogue, eccentric characters, and a suspenseful atmosphere that keeps the audience guessing until the final curtain. Paired with a delicious three-course supper, the production delivered an engaging evening of entertainment, with some standout performances elevating the experience.
Set in a 1930s English country manor, Death by Design introduces an eccentric cast of characters. Playwright Edward Bennett and his actress wife, Sorel, flee London after a disastrous opening night, only to be joined by unexpected guests—a conservative politician, a fiery socialist, a nearsighted ingénue, and a zany bohemian artist—each hiding long-held secrets. When the stormy night ends in the murder of the abrasive politician Walter Pearce, it falls to Bridgit, the sardonic maid, to uncover the culprit.
The prime suspects in Pearce’s demise include the bickering Bennetts, their outspoken maid Bridgit, their chauffeur Jack, and their three surprise guests: Eric, Victoria, and Alice.
Rufus Kendall played Edward Bennett, portraying the playwright’s arrogance and narcissism with superb timing, while Mel White excelled as Sorel, his dramatic and extravagant wife. Sorel’s less-than-glowing Daily Mail reviews leave her blaming Edward’s lacklustre characters, adding fuel to their spirited squabbles. The chemistry between White and Kendall brought this tumultuous relationship to life, as the pair volleyed barbed remarks with expert comedic timing.
Kathryn Kendall brought sharp wit to the role of Bridgit, the irritable maid determined to crack the mystery, boldly declaring, “no one leaves this room until I discover who murdered Walter Pearce!” Jonathon Neil was charming as Jack, the womanising chauffeur, with hints of a disdain for Pearce, while keeping his own motives hidden until the end.
Karina Farnlucher gave a brilliantly comedic performance as Victoria Van-Roth, the flamboyant Bohemian artist with one shaved armpit (a memorable detail!). Her exaggerated, tipsy antics after a few double martinis left the audience in hysterics, her theatrical body language and expressive dancing heightening the absurdity.
Jo Smith portrayed Walter Pearce, the stiff, unlikeable politician, with perfection. His brusque mannerisms and political jabs, especially those on the recent election, sparked laughter from the audience, who appreciated Smith’s committed performance - even after his character’s death!
Martin Wellen and Tish Piwowarek rounded out the cast, with Wellen playing the fiery socialist Eric, whose impassioned speeches provide a stark contrast to Pearce’s conservatism, and Piwowarek as the seemingly confused Alice, whose entrance at the end of Act One brought both intrigue and humour.
The play’s continuous action, with the second act picking up precisely where the first left off, ensured a lively pace that kept the audience engaged. The simple yet evocative set transported viewers to the Bennetts’ 1930s country retreat, with period-appropriate costumes, makeup, and sound effects adding layers of authenticity.
Throughout the performance, the cast’s enthusiasm and the play’s inherent wit shone through, providing ample laughs and fully engaging the audience in the plot. The intricate twists kept the audience guessing until the end, making for a satisfyingly suspenseful (if slightly challenging) mystery. The play’s quick-witted dialogue demanded close attention, but the payoff was worth it, as the unexpected turns delivered a rewarding conclusion. Congratulations to seasoned director Nick Webb and producer Tina Wareham for this thoroughly enjoyable evening, which played to sold-out audiences at both performances.
I eagerly await Headley Theatre Club’s next production, Cinderella, coming in January 2025.
Heidi Neale
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