Twists and turns in a clever stage show
Victor (Don Shanks) complains that his wife Joan (Jenni Hill) doesn’t understand him.
He wants to run off with hooker Kamila (Emily Sullivan) and start a new life. For her part, Joan is fed up with Victor’s snoring and his constant rejections — “makes you look a bit butch” he sneers when she comes home with a new haircut to impress him. It’s clear something has to change, although Victor’s plan — to commit the perfect murder by bumping Joan off — is rather nastier than hers to run off with her taxi-driving lover Don (Peter Moore).
Although Victor’s got murder on his mind, there are still moments when the pair try, but fail, to connect.
“I thought we’d still be laughing together,” Victor says plaintively. “I thought you’d still want sex three times a day.”
“I do Victor,” Joan shoots back. “Just not with you.” It’s vicious, funny and sad. That’s about all I can say about the plot of The Perfect Murder because from here the story becomes a real whodunit, with twists and turns that keep the audience guessing, some laughs and a few surprises — at one point I heard an audible gasp from a person behind me.
People lose the plot, nothing is as it seems — or is it? — and the dogged Detective Constable Roy Grace (Robert Steven) is intent on solving the mystery.
A cleverly-designed set, great sound and lighting and smart direction from Sharon Shanks all help to ratchet up the tension and the actors gave 110 per cent, with a special nod to Peter Moore for his portrayal of Don, although it seems unfair to single him out with all the acting of such a high calibre.
I’ve been to many of Centre Stage’s shows over the years and this one is up there with the best. My friend Ali and I thoroughly enjoyed every minute of this exiting and hilarious show.