Review by Rebecca Lynne of “Murder on the ‘Not-So’ Orient Express”, Presented by Mystify Events
Presented by Mystify Events, an event planning and entertainment group, Murder on the ‘Not-So’ Orient Express is a murder mystery set in an alternate 1920’s Brisbane.
With heavy references to Agatha Christie’s works, the show is like being a fly on the wall of a “Hercule Poirot” investigation. Except, you can interact! and are encouraged to do so. Upon arrival, each audience member is handed a bookmark-sized flyer detailing your character’s verdict and a special set of tasks. Most of the tasks are responses to specific dialogue or actions on stage, while some have audience members participating directly with the scene. The snoring of a sleeping character becomes surround sound thanks to a few audience members whose task it is to snore alongside him; and any mention of tea prompts others to call out “where’s mine?”.
Several audience members are even provided with various props to be used throughout the piece. One was given a bottle of Corona to serve as the waiter, jumping to his feet to offer the clearly now warm beverage. After the show, I believe this audience-member-turned-waiter may have actually walked out with the bottle as a sneaky souvenir. Nevertheless, the encouraged audience heckling created a semi-interactive performance full of humorous improvised interactions.
I say semi-interactive as the whole experience was reminiscent of yelling at the characters on your TV that “he’s over there!” when watching a horror movie; except the character’s actually hear you. However, audiences seem to function only as accessories to the story but are not able to affect it. It is very clear that the story that plays out is fixed and audience interactions will not change the outcome. If what the audience calls out is not a listed task nor helpful to the plot, the heckle will be ignored. No amount of “no! stop!” will prevent a character from drinking a poisoned drink if that is what they’re destined to do. Nevertheless, the story is thoroughly entertaining.
The story begins on the train transporting an accused murderer who awaits their trial in Brisbane. Six characters are aboard – the gentleman accused, the policeman, the grieving widow, the debonair detective, the mysterious stranger, and, of course, the conductor of the train.
Ben Bartholomew performs as “William Baker”, the disheveled tailor who swears he’s innocent. A glance at his ill-fitting outfit makes one question how honest the character may be. What kind of tailor wears pants that bundle at the ankles and a coat with too-short sleeves? It’s hard to trust a man in handcuffs, but Batholomew does a wonderful job of pleading to audience sympathies.
Acting as his police escort, Chris Kellett plays the stoic “Leon Payne”. Kellett is a powerful presence on stage, and not just because he’s playing an intimidating officer. With a voice that booms throughout the room paired with a sweet and charming smile, he plays a commanding yet loveable oaf almost too well.
The grieving widow, “Ruth Wallace”, is played by the lovely Abby O’Brien. A seductive and secretive character, supposedly grieving but barely shedding a tear. A femme fatale in the making, O’Brien struts along the delicate line of appearing enchanting yet dangerous with ease.
Performed by Amelia Slatter, “Bernard Walters” was the ‘Poirot’ detective of the story. An inquisitive and forthright gentleman, but something about them seems amiss. Thanks to her horrendous fake moustache, Slatter performed the stereotypical male detective to great comedic effect. Her final scene was a testament to her dramatic ability, shocking and disturbing audience instinct. I won’t reveal the twist ending here though – you’ll have to watch the show to find out!
Director and writer of the show, Siobhan Robertson also performs as the mysterious stranger, “Lucille Schmidt”. A longtime friend of the reviewer, it was wonderful to witness a full production of Robertson’s creativity. Robertson clearly had fun with her performance, choosing to enter the scene by crawling out from underneath a side-table several times throughout the piece.
And last but not least, Ben Rawson performs as the “Conductor”. Acting as both host and stage manager, Rawson did a wonderful job of conducting the performance. Between the curtains, he could be spotted zooming around backstage making sure everything was running smoothly. Unfortunately, though, on stage he didn’t seem like he was truly a part of the story as he was usually only present to do stage manager things, like changing the set. His character was also quite flat and lacked the same gusto as the other characters. In a way, though, it makes sense for the ‘server’ to fade to the background while their ‘guests’ take centre stage.
The ‘train’ is the curtained off event space in the newly opened EC Venue in Fortitude Valley. Mystify Events have stylishly transformed the space into a grand train carriage; with curtained windows, art-deco-esque artworks, and a glamourous lounging area. The audience is sat in two rows placed either side of a long galley style stage area, situating you as if peering into the aisle of a wide train carriage.
Verdict: All aboard for an interactive murder mystery Brisbane is dying to see! Experienced investigator or novice sleuth, this show is a fun time for all fans of detective shows.
Audience Information: Arrive early to try to get the fun tasks and props before they’re all handed out! Grab a drink or two at the bar and try practicing your transatlantic accent. Audiences are encouraged to dress up for the event and get into the story. There are a few steps at the entrance to the venue, and another at the toilet entrance, so accessibility may be limited and audience discretion is advised.
When: 21-22 May 2022 (final shows postponed due to covid, dates TBA)
Where: EC Venue – 17 McLachlan Street, Fortitude Valley, Brisbane QLD
Cost: $40 per person
The reviewer saw the Saturday matinee show on the 21st of May.
