The Other Side of Murder at Theatr Clwyd and on tour – review

There is barely a moment to catch your breath in The Other Side of Murder. The third instalment in Torben Betts’ series of comedy thrillers, following Murder at Midnight and Murder in the Dark, this latest outing is directed by Philip Franks and throws its characters into a delightfully anarchic evening where professional affairs become rather more personal. Running at around two hours and ten minutes (including the interval), the production is presented by Original Theatre in association with Theatr Clwyd.

Betts’ scriptwriting is ceaseless in its intent to be zany, and he clearly takes delight in the madcap confusion he creates. The dialogue comes thick and fast, jumping from sharp one-liners to wonderfully niche references, and there is always another throwaway remark to catch. For a farce, the pace is perfect, although I find the first half slightly lacking in emotional depth. The characters are well-defined, but the pandemonium surrounding them garners the most attention. There are glimpses of something more nuanced, but they are quickly swept aside by whatever comes next.

Then the play takes a turn, and it is far more enjoyable when you don’t know where it is going. What follows gives the story another dimension, playing with what is real, what is staged and just how easily the two can blur together. It is here that Betts’ script feels at its cleverest, rewarding an audience that is willing to simply sit back and allow the twists to unfold rather than trying to second-guess them.

The cast are well suited to the heightened style, with each character bringing their own particular flavour to the growing madness. Rufus Hound’s Darius Divine, né Peter, is suitably slippery, balancing the polished charm of a prime-time medium with the increasingly frantic reality unfolding around him. Carla Mendonça’s Susannah brings a more grounded presence to the chaos, while Aisha Jawando’s Laura is a powerhouse of passion, bringing her own agenda to an already tangled web. There is a pleasing contrast between the characters, which helps keep the increasingly complicated exchanges readable even as everything begins to spiral.

But it is Susie Blake’s Miriam who steals the show. She initially appears wonderfully scatterbrained, but there is considerably more going on beneath the surface. Blake’s comic timing is excellent, and she plays Miriam with a knowingness that makes her impossible not to watch. Even her smallest reactions feel carefully considered, adding another layer of humour to a character who could easily become little more than a caricature in less assured hands.

The production’s greatest strength is also its biggest weakness. With so many quick exchanges, overlapping conversations and carefully timed moments, there is very little room for error. Occasionally, lines become muddled or a cue appears to go astray, and the illusion slips.

In a farce so dependent on rhythm, even a small stumble is noticeable; when the timing is right, however, the whole thing clicks beautifully. Franks’ direction keeps the action moving at an impressive pace, creating the sense that the characters are constantly one step away from complete collapse.

The Other Side of Murder is not quite flawless, but it is witty, fast-moving and frequently ridiculous, with a second half that delivers some of the production’s biggest surprises. There is no denying that this is an entertaining night at the theatre, with plenty of laughs, a wonderfully chaotic ensemble and a few tricks hidden up its sleeve.