Review: MURDER BEFORE EVENSONG, Watermill Theatre
Photo credit: Alex Brenner
The life of Reverend Richard Coles would make a fascinating play in itself, from 80’s synth pop star, to Church of England priest, from fish eye eating I’m a Celeb contestant to author of cosy crime novels; he is a man of many talents. His bestselling novel, Murder Before Evensong, has now been adapted for stage, and the world premiere has been produced at The Watermill Theatre, a setting as quaintly idyllic as Coles’ fictional village of Champton, where we first meet Canon Daniel Clement (Ian Hallard).
The play opens with gentle comedy, Canon Clement announces the proposed addition of a toilet to the church, met with staunch resistance by some members of the congregation. The scene is set as a charming parish in middle England in the late 1980’s, a place where the biggest issues are the agenda of the forthcoming flower arrangers guild meeting, and the disturbance that the new W.C may or may not cause to parishioners - lots of jokes about sitting in poos (pews)!
We are introduced to the inhabitants of the village, with titbits of information dropped about them all along the way, as in any good murder mystery - sowing the seeds to cast suspicion on even the most unlikely of characters. The cast of eight work exceptionally hard, with seven of them taking on multiple roles throughout. At times, this can get a little confusing, as in some cases there isn’t quite enough distinction between costumes and props for the changes to be immediately obvious.
Ian Hallard as Canon Daniel Clement is the only cast member to embody just one character throughout, and gives a good portrayal of the patient, devout - if slightly weak willed - rector. Kate Russell-Smith and Alex Wilson give stand out performances in each of their multiple roles, with Russell-Smith ably transforming from slightly doddery old Dora, local busy body doom-monger Anne, or privileged but charming daughter of the manor, Honoria de Floures. Jaz Singh Deol is compelling as Detective Seargent Neil Vanloo, and Caroline Gruber makes an excellent rector’s mother as Audrey, and born and bred villager/furious opposer of the new loo, Kath Sharman. The cast is completed by Ajani Cabey, Julie Teal, and David Hounslow.
As the play progresses, there is not one, but two brutal murders, Dan must help D.S Vanloo navigate the quirks of the parishioners to find the murderer in their midst. Is the answer in the forbidden love affair between two young men, or buried deeper in the history of the village? Is the killer to be found in the heart of the community, or on the fringes of the civilised population? The many unanswered questions keep us guessing but in places, the pace of the piece does feel a little slow.
Ceci Calf’s set design makes good use of The Watermill’s height, using flown signs to denote the change in location, and three flown panels shaped like church windows which are used to great effect, with Rachel Sampley’s video design projected onto them. However, the use of a gauze to mark the back of the playing space is problematic, as it is often possible to see cast members crossing behind it. The set up of the second murder, which takes place just before the interval, wasn’t much of a surprise, as the audience had a clear view of the ladder used to get the actor into position!
With a mix of gentle humour and an abundance of intrigue, Murder Before Evensong is a charming piece of theatre, reminiscent of an episode of Midsomer Murders, and a perfect cosy interlude for autumnal evenings in rural England.
*** Three stars
Reviewed by: Sarah Brown