By Brian D. Taylor
© Copyright 2013, Pioneer Drama Service, Inc.
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THE MURDER MYSTERY AT THE MURDER MYSTERY
By BRIAN D. TAYLOR
CAST OF CHARACTERS
(In Order of Appearance)
# of lines
SCARLET MAYS/MS. POLLY ........diva actress who demands
that things go her way; does
not get along with the director
HOLLY HANOVER/
MRS. MARGARET POLK........level-headed and logical, but
snarky actress
SANDY SMITH/
GERTRUDE POLK .................young actress who’s excited
about the world of theatre
MISTY GERE/THE MAID .............drama queen who overplays
her part as well as everything
in reality
RICHARD GREEN/
MR. FREDERICK POLK .........experienced actor who tries
to direct and has some pretty
good ideas
TOM BAINES/
MR. HUMPHREY BLACK .......sleepy, hungry actor who plays
the dead guy
GARY FERGUSON/
INSPECTOR BRADSHAW ........serious method actor
ERICA .......................................put-upon but reliable stage
manager/house manager
BRETT DONAHUE.......................director who’s lost all control
SUSAN .....................................slightly batty accompanist;
plays intense and dreadful
mood music
INSPECTOR WRIGHT ..................Cheboygan’s finest
INSPECTOR FULLER ...................Wright’s partner
ADELE SEARS ...........................drama critic
BRIAN D. TAYLOR.......................the playwright
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SETTING
Place: A murder mystery playhouse in Cheboygan, Michigan.
Time: The final dress rehearsal of the play, Putting a Little English On It.
The stage is set for the play within the play. It’s a parlor of a mansion.
There is a couch, an easy chair and a coffee table set for tea. The
front door is STAGE LEFT. There should be space between the walls of
the set and the curtains or proscenium DOWN LEFT and DOWN RIGHT
where characters can ENTER from the wings.
A keyboard and bench are DOWN RIGHT on the FORESTAGE or on a
raised area at the front of the AUDIENCE. Seats may be reserved in
the AUDIENCE for staging the action that takes place there or an extra
row of chairs may be added in the front of the AUDIENCE.
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THE MURDER MYSTERY AT THE MURDER MYSTERY
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SOUND EFFECT: THUNDER. LIGHTS UP on the stage at the Murder
Mystery Playhouse in Cheboygan (or feel free to substitute your own
town). SUSAN, the accompanist for the play, sits off to the side of the
stage in front of a keyboard. SCARLET, HOLLY, MISTY, RICHARD and
SANDY, all actors in the murder mystery, are in their places and in
character as MS. POLLY, MRS. MARGARET POLK, THE MAID, MR. POLK,
and GERTRUDE, respectively, with TOM, as MR. HUMPHREY BLACK, off
to the side and sprawled upon the floor with a fire poker in his chest.
The OTHERS react to the BLACKOUT and THUNDER. [NOTE: As this
play within the play is a British mystery, when in character, all actors
speak in British accents. Otherwise, they speak in American accents.
See PRODUCTION NOTES for more on style in the play within the play.]
MS. POLLY: What was that?
MR. POLK: Oh, it was nothing but a trifle of thunder. Nothing to worry
about.
MAID: But why should that make the lights go out?
MR. POLK: Why, it’s only a surge in the ’lectric is all.
MRS. POLK: He’s quite right. It’s nothing to get all up in shambles
about so sit down and finish your tea. Another poppy cake,
Gertrude?
GERTRUDE: Yes, please. (MRS. POLK hands her a poppy cake.) Thank
you, mum.
MRS. POLK: Anyone else? It’s an old family recipe, passed down from
my great, great, grandmother who worked in the king’s kitchen.
Everyone says they’re to die for!
MR. POLK: You’re right about that, love.
MAID: (Sees MR. BLACK sprawled upon the floor.) Oh, my!
MR. POLK: Blimey! (Rushes over to MR. BLACK.)
MAID: Mr. Black! Whatever could have happened to him?
MRS. POLK: Oh, stop playing around, Humphrey! You’ll give Gertrude
bad dreams.
MS. POLLY: I don’t think he’s playing around, Mrs. Polk.
MRS. POLK: Of course, he is. Mr. Black can be the most useless knob
sometimes. Honestly, I don’t know why we still have him for tea.
MR. POLK: No. She’s absolutely right, Margaret. If I may say so,
it looks as if he’s… (Dramatic pause. SUSAN plays a short, but
INTENSE MUSICAL REFRAIN on her keyboard. See PRODUCTION
NOTES.) …dead.
MAID: (Screams.) Ah!
MS. POLLY: Dead?
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MRS. POLK: Dead?
GERTRUDE: Dead? (SUSAN plays another quick, but INTENSE MUSICAL
REFRAIN.)
MR. POLK: Yes. He’s dead all right. Entirely and completely.
MAID: Oh, my! (Sits, unable to bear the weight of this tragedy.)
MR. POLK: Good old Mr. Black. The poor sap! (Attempts to pull the fire
poker from MR. BLACK’S chest.)
MRS. POLK: Oh, Frederick! No! Don’t do that!
MR. POLK: Why not?
MRS. POLK: You’ll disturb the scene of the crime. Everyone knows
you never disturb the scene of the crime, or else you might be
suspected as the killer.
MS. POLLY: What is that thing… that thing that’s in him, anyway?
GERTRUDE: That’s our fire poker! Isn’t it, Daddy? (MR. POLK nods.)
MAID: She’s right. But, if it is our fire poker, then that means someone…
(SUSAN plays another quick, but INTENSE MUSICAL REFRAIN.)
MR. POLK: Yes. (OTHERS gasp.) Someone.
MS. POLLY: But who could have done such a thing? Surely, it couldn’t
have been someone in this room.
MRS. POLK: Just what are you suggesting, Ms. Polly?
MS. POLLY: Only that— Well, it had to have happened when the lights
went out. Mr. Black was standing right there. And so, logically, one
would have to presume that one of us must have done it.
MRS. POLK: How dare you say such a thing! No one in this room is
capable of committing such a horrendous act. Not against Mr.
Black, our dear friend. Just how could you suggest… (Upset. Huffs.)
And to think we invited you over for afternoon tea!
MR. POLK: No. She’s spot on, Sweetums. I think we all know that fire
pokers don’t just hurl themselves into people’s chests. One of us
is responsible. (Long pause. ALL behave rather awkwardly.) I mean,
surely, someone had to have done it. (Clears his throat and speaks
louder, emphasizing each word.) One of us must be responsible!
(Long pause. ALL hold their positions and one by one break the
fourth wall by looking out into the AUDIENCE. BRETT, the director
who has been sitting in the AUDIENCE the whole time, stands and
crosses to the stage.)
BRETT: (Yells.) Stop! (ACTORS visibly relax and break character.)
SANDY: Did I miss my line?
HOLLY: No. Don’t you worry. You’re doing just fine.
BRETT: (To the CAST.) What’s going on? Erica! (ERICA steps ON from
the wings, DOWN RIGHT.) Is there a problem?
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ERICA: (Frustrated.) Working on it. (Talks into her headset and EXITS
DOWN RIGHT.)
SCARLET: Oh, this rehearsal is never going to end!
BRETT: Settle down, now, Scarlet. We’ll be rolling again in no time.
SCARLET: In no time? Ha! I seriously do not have time for this.
BRETT: We’ll be done sooner if you’d stop talking and work on your
lines while I fix the problem.
SCARLET: Work on my lines? Don’t you know who you’re talking to?
(Sits and stews.)
BRETT: Thank you, Scarlet. Now, what is the—
GARY: (ENTERS LEFT through the front door.) Is everything okay in
here? I heard raised voices.
SCARLET: (Through gritted teeth.) Everything’s fine!
GARY: (To the OTHERS.) Are you sure? Nothing out of the ordinary?
HOLLY: Scarlet and Brett are at each other’s throats again tonight. I’d
say that’s about as normal as it gets.
BRETT: Nothing to worry about, officer. Everything is under control.
GARY: Okay, but… (Looks at SANDY. Serious.) No one should hesitate
to call if someone feels as though they’re in danger. If you get my
drift. (SANDY nods, uncertain.)
BRETT: You’ll be the first one to know, sir. (GARY relents and EXITS.
BRETT is losing patience.) Will someone tell me what’s going on?
MISTY: The doorbell!
BRETT: What?
MISTY: The doorbell. It didn’t ring!
BRETT: Okay. And—?
HOLLY: And we’re waiting for it. What else are we supposed to do? The
cue is on Richard’s line when he says—
RICHARD: One of us is responsible. (SOUND EFFECT: DOORBELL.)
There it is!
INSPECTOR BRADSHAW: (GARY again, but now he ENTERS LEFT
through the front door in character.) Good afternoon. I’m Inspector
Bradshaw. I hope I’m not interrupting—
ERICA: (ENTERS from the wings DOWN RIGHT.) Not now, officer. False
alarm.
GARY: But the doorbell rang.
ERICA: I know, just a little mistake. But the problem’s solved now.
Come with me, and I’ll explain everything. (Pulls GARY OFF into the
wings DOWN LEFT.)
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HOLLY: (Concludes her explanation.) And that’s when Gary comes on
as the Inspector.
BRETT: So that’s all we’ve been waiting for? A doorbell?
HOLLY: Yes. Well, not anymore.
MISTY: Oh, my! This is just awful! Is this going to happen on opening
night? What if this happens on opening night? What will we do? It
can’t happen on opening night!
BRETT: It won’t, Misty.
MISTY: But tomorrow night is opening night!
BRETT: It’s fixed. Problem solved. We have a doorbell and we’ll have
it again tomorrow for opening. And even if we don’t, we’ll just keep
going. (To the OTHERS.) Right? (OTHERS nod. To MISTY.) Relax. It
will be fine. I promise.
SCARLET: (Stands and crosses to BRETT.) Brett, could I have a word
while we’re stopped.
BRETT: (Insincerely charming.) How could I say no?
SCARLET: You’ve read my contract, now, haven’t you?
BRETT: Yes, Scarlet, I’ve read it. I’ve told you a thousand times that
I’ve read it.
SCARLET: Then you know that my contract specifically states—
BRETT: That you will not be in rehearsal for more than three hours at
a time. Yes, I know.
SCARLET: And it’s a quarter to nine already. I refuse to be kept here
past ten. I must have my beauty rest.
BRETT: And beauty rest you shall have.
HOLLY: Not that it will do her any good. (SCARLET shoots her an angry
look and retreats to the couch.)
BRETT: If everyone’s done, I have a few words.
SCARLET: (Rolls her eyes.) Oh, goody! Words of wisdom from our
mighty leader!
BRETT: Look. We’re off track. We have to get through this rehearsal
if we want to open tomorrow night. I think what we all need is to
take a moment to refocus. Okay? Let’s all just take a minute to
breathe and refocus by visualizing a show-stopping performance
tomorrow night.
SCARLET: Show-stopping? How is that different from what we’re doing
already?
BRETT: You know what I mean. Just do it. Come on, everyone,
close your eyes, breathe and visualize. (ALL except for SCARLET
do the visualization. They take deep breaths with closed eyes,
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each visualizing how the performance will be. From the nervous
look on MISTY’S face, her visualized performance isn’t going so
great. SCARLET watches them with disdain.) Good. That’s right.
Just breathe and visualize. (EVERYONE continues in silence for a
moment.)
GARY: (Steps ON DOWN LEFT from the wings and looks at the OTHERS
as they continue their exercise.) Is there a problem here?
SCARLET: Here we go again!
BRETT: (Sighs deeply.) No, officer. Everything’s perfectly fine.
GARY: Things don’t appear to be fine. It’s too… quiet.
HOLLY: First, it was raised voices, now it’s too quiet!
SCARLET: Seriously? We’re already running over and it’s already
getting ridiculous. We don’t have time for crazy!
GARY: Excuse me? What did you call me?
SCARLET: You heard me. Go back to your beat, deputy dog.
GARY: Oh. I see. Insulting an officer now, are we? Well, miss, you just
earned yourself a free night’s stay at the Cheboygan County Jail.
(Removes his handcuffs and moves toward SCARLET.) Let’s see if a
night behind bars will change your tune.
BRETT: No, Gary. Not now.
HOLLY: Who let him have handcuffs?
GARY: Come here, you!
SCARLET: Get him away from me!
BRETT: (Screams.) Erica!
ERICA: (Steps ON DOWN LEFT.) What now?
BRETT: Officer Ferguson seems to think there’s a problem. Handle it.
ERICA: Right. (Crosses to GARY.) Officer, I witnessed everything. I can
tell you everything you need to know so you can crack the case.
GARY: Aha! Now we’re getting somewhere. We’ve got a talker. But why
should I trust you?
ERICA: I have nothing to hide. Like I said, I’ll tell you all you need to
know.
GARY: What about these people?
ERICA: They won’t tell you a thing. They’re your primary suspects.
GARY: Just as I thought.
ERICA: Come with me, officer. (Leads GARY OFF DOWN LEFT.)
SANDY: Why does everyone keep calling him officer?
SCARLET: Gary’s a little… (Rolls her index finger around her ear,
suggesting he is crazy.)
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MISTY: He’s not crazy. He’s just staying in character. That’s all. Give
him a break.
HOLLY: (To SANDY.) He’s what we call a method actor.
SANDY: What’s that?
HOLLY: It means he’s playing a cop in the play, so he trained to be
a cop. Went through the police academy and everything. He truly
believes he’s a cop.
SANDY: Even when he’s not acting?
HOLLY: Yep. Crazy, isn’t it?
SANDY: Oh, this is so exciting! When mom said I should be in a play,
I never knew how cool it would be. All these interesting people to
meet and exciting problems to solve. I mean, what if Misty’s right?
What if the doorbell doesn’t ring tomorrow night? What will we do?
Can we ad-lib? (To BRETT.) Ooh! Can we?
BRETT: No.
GERTRUDE: Aw. But it would be so cool!
RICHARD: Speaking of that, Brett, may I make a suggestion…
BRETT: No.
RICHARD: Well, I was just going to say that perhaps Susan could act
as the backup doorbell.
BRETT: No.
RICHARD: You know, play a couple notes that sound like a chime.
SUSAN: (From her keyboard.) Sure. I could do that. (Plays TWO NOTES
that sound nothing like a chime.)
RICHARD: Er, something like that. Just in case.
BRETT: No.
RICHARD: That way, we wouldn’t have to worry about it.
BRETT: No.
RICHARD: I mean we all know that her playing needs a little work.
MISTY: How could you say that? She’s sitting right there. She can
hear you!
SUSAN: No, no. It’s true. I’m sorry. I’m doing my best, but he’s right.
It’s pretty bad.
SANDY: Well, I think your music is great!
SUSAN: Thank you.
HOLLY: Nice work, kid. You keep telling people what they want to hear
and you’ll go far.
SANDY: Oh. Thanks.
RICHARD: I’m only suggesting that—
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BRETT: No, Richard.
RICHARD: Okay, here’s another idea.
BRETT: No.
RICHARD: What if Gary were to just knock at the door?
BRETT: No.
RICHARD: I mean he’s standing there ready to enter anyway.
BRETT: No.
RICHARD: And all we need is a signal before his entrance.
BRETT: No.
RICHARD: All I’m saying is that if he could just—
BRETT: (Loses patience.) No! (Calms himself with a quick breath.)
Please tell me again, Richard, what is your role in this play, Richard?
RICHARD: I’m playing Mr. Polk.
BRETT: No.
RICHARD: Frederick Polk?
BRETT: Not what is your role, but what is your role?
RICHARD: I’m… playing… (Lost.)
BRETT: What position do you hold in this playhouse? (RICHARD is still
at a loss.)
HOLLY: You’re an actor. He wants you to say that you’re just an actor.
BRETT: Right. And I’m the director. So… you do the acting and I’ll do
the directing. Okay, Richard?
RICHARD: But I was just thinking—
BRETT: No. Don’t think. Just act. I’ll do all of the thinking. Capisce?
(NOTE: Pronounced “kapeesh.”)
RICHARD: All right.
BRETT: Perfect. Now, can we get back to rehearsing the show?
(OTHERS nod. BRETT sighs. To himself.) I’m so glad we refused to
let the critics in for a preview tonight!
ERICA: (Steps ON DOWN LEFT and gives a thumbs up.) We’re all set.
BRETT: Are we sure we’re ready to go on?
ERICA: Doorbell works. Gary’s refocused. Everyone who needs to be
onstage is onstage. Let’s go before any of that changes.
BRETT: And it won’t happen again?
ERICA: Not a chance.
BRETT: Good. Then, let’s resume. Places. We’ll take it from Richard’s
cue, we’ll have a doorbell this time, and there will be no more
problems.
SCARLET: And we’ll be done by ten…
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SCARLET/BRETT: …just as my/Scarlet’s contract specifies. (BRETT
returns to his seat in the AUDIENCE. ACTORS resume their places.)
TOM: (Sits up and looks around.) Are we done?
SANDY: Hey, look, everyone! Tom’s awake!
HOLLY: Almost forgot about him.
TOM: Is the rehearsal over? ’Cause I’m just dying to track down the
taco truck right about now.
HOLLY: No, Tom. You died just two pages ago.
TOM: Really? ‘Cause it seems like I’ve been lying here for awhile.
SCARLET: That’s ‘cause you have been, hon.
HOLLY: It’s okay, Tom. You can go back to sleep.
TOM: Okay. Cool. Thanks. Just, uh, at least let me know if there’s a
snack break. (Lies down again. ERICA gives the ACTORS a nod and
steps OFF DOWN LEFT. ACTORS get back into character.)
MR. POLK: One of us must be responsible. (Looks OUT toward the
sound booth. SOUND EFFECT: DOORBELL. SUSAN plays another
INTENSE MUSICAL REFRAIN on her keyboard as ALL dramatically
turn their heads in sync to the door.)
MS. POLLY: Whomever could that be?
MAID: (Crosses to door DOWN LEFT.) I’ll get it.
INSPECTOR BRADSHAW: (ENTERS LEFT through the front door.) Good
afternoon. I’m Inspector Bradshaw. I do hope I’m not disturbing
your afternoon tea, but I happened to be in the area, and I heard
a scream.
MAID: Sorry. That was me.
GERTRUDE: Ooh! An inspector! Do you work for Scotland Yard?
INSPECTOR BRADSHAW: Yes. As a matter of fact, I was just on my
way back there when I heard the disturbance. Is everything okay
here?
MR. POLK: No. In fact, your timing is impeccable, Inspector. It seems
that we may have been witness to… (SUSAN plays another quick,
but INTENSE MUSICAL REFRAIN. RICHARD breaks character as MR.
POLK for a moment to show his aggravation at the cheesy music
and waits for it to end. Resumes character and continues.) … a
murder.
INSPECTOR BRADSHAW: A murder you say?
MAID: Yes, sir. It happened right here, before our very eyes.
INSPECTOR BRADSHAW: So you saw everything?
MRS. POLK: Not exactly. The ’lectric went out just as I was pouring
tea and, well…
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MS. POLLY: When the lights came on again, Mr. Black was… (SUSAN
plays another INTENSE MUSICAL REFRAIN.) …dead.
INSPECTOR BRADSHAW: So you’re telling me that you didn’t see the
killer?
GERTRUDE: No, sir. The lights went out and it was pitch black.
INSPECTOR BRADSHAW: Interesting. Even in the afternoon?
GERTRUDE: Yes, sir.
MS. POLLY: I was wondering about that. It is sort of… fishy.
INSPECTOR BRADSHAW: And you’re certain it was murder?
MR. POLK: Yes, sir.
GERTRUDE: Father found a fire poker in his chest!
MRS. POLK: Gertrude!
GERTRUDE: (Sits. Obedient.) Well, it’s true.
INSPECTOR BRADSHAW: Let me see the murder weapon.
MR. POLK: (Points at MR. BLACK.) Of course. It’s, um, right there in
Mr. Black’s chest, exactly where we found it. We didn’t disturb the
crime scene at all. Everyone knows you don’t disturb the scene
of the crime.
INSPECTOR BRADSHAW: (Crosses and inspects the scene carefully. He
seems to be making a different assumption with each “Yes.”) Yes…
yes… yes… mmhmmm… yes… hmmm… yes… very interesting.
MRS. POLK: What do you make of it, Inspector?
INSPECTOR BRADSHAW: I can say without a doubt that, in fact, this
man was… (SUSAN plays an INTENSE MUSICAL REFRAIN on the
keyboard.) …murdered.
MAID: Oh, how awful!
MS. POLLY: But who could have done such a thing? We all love and
admire Mr. Black. Surely, none of us is responsible.
INSPECTOR BRADSHAW: That’s certainly a possibility, but until we’ve
weighed the facts, it’s impossible to know for sure. As of this
moment, you’re all suspects.
MAID: Oh, no! Oh, no, oh, no, oh, no! This is awful!
INSPECTOR BRADSHAW: (Looks at her, knowing.) What’s the matter,
miss?
MAID: Oh, nothing, sir. It’s just that it’s just so awful!
INSPECTOR BRADSHAW: Sounds to me like you’re guilty of a guilty
conscience. Is there something you’d like to tell us, miss?
MAID: Oh. No.
GERTRUDE: But how could we have done it? No one moved. We were
all having tea.
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MS. POLLY: And we all love Mr. Black.
INSPECTOR BRADSHAW: You keep saying that. Could it be that
you don’t really love Mr. Black at all? Could it be that you’re the
murderer?
MS. POLLY: No.
INSPECTOR BRADSHAW: Hmmm… well, someone is responsible.
I’m going to have to recreate the crime scene. I need to know
exactly who was in this room and what they were doing exactly
when the murder took place.
GERTRUDE: (Excited.) You mean you want us to replay the scene? As
if we’re all in a play or something?
INSPECTOR BRADSHAW: Precisely.
MR. POLK:
Very well. We can do that can’t we?
(Looks around. OTHERS nod.) Um, all of us were present, you see,
and, er, Margaret was just serving tea.
MRS. POLK: I was. And I had just poured Mr. Black’s cup and handed
it to him. And… what was it I said? Oh yes, “Drink up, Mr. Black.
You don’t want your tea going cold, now do you?”
INSPECTOR BRADSHAW: I see, I see. (Pulls out a notepad and pen.)
MRS. POLK: Now, don’t go reading into that now. I only served him a
cup of tea, just like I did for the others.
INSECTOR BRADSHAW: And what else did you put in Mr. Black’s tea?
MRS. POLK: (Firm.) One lump, just as he requested.
INSECTOR BRADSHAW: One lump. (Scribbles a note on the pad.) I
see, I see. Please continue.
GERTRUDE: And I said, “Oh, mummy, the poppy cakes are simply to
die for tonight!”
INSPECTOR BRADSHAW: I see. So it was the poppy cakes!
GERTRUDE: What?
INSPECTOR BRADSHAW: The poison was in the poppy cakes.
GERTRUDE: No. They were just really good.
MR. POLK: And who said anything about poison, anyway? Are you
accusing my wife of… (SUSAN plays an INTENSE REFRAIN.) …
murder?
MRS. POLK: How dare you!
INSPECTOR BRADSHAW: No. Not just yet.
MS. POLLY: And besides, it seems perfectly clear that Mr. Black was
killed with a fire poker. Not by poisoning.
INSPECTOR BRADSHAW: As I was saying, I must have all of the facts.
Please, continue.
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PRODUCTION NOTES
PROPERTIES ONSTAGE
Couch, chair, coffee table, settings for tea, including small cakes,
keyboard (on the FORESTAGE or in the AUDIENCE), Susan’s purse with
water bottle (in the AUDIENCE), six fire pokers (preset behind the couch).
PROPERTIES BROUGHT ON
Binder, headset, chain mail shirt, inspector’s hat (ERICA)
Handcuffs, notebook and pen (GARY)
Badge (INSPECTOR WRIGHT)
Badge, handcuffs (INSPECTOR FULLER)
Knife (SUSAN)
Taco (TOM)
Manuscript, stool (BRIAN D. TAYLOR)
SOUND EFFECTS
Thunder, several variations of intense mood music, doorbell.
MOOD MUSIC
Since the keyboard is unplugged for most of the show, the intense
musical refrains are played as pre-recorded sound cues. If using
music from another source, be sure to use public domain music or to
acquire proper performance licensing if required. Though the keyboard
is unplugged, SUSAN still plays the keyboard when indicated, as if she
thinks she’s playing what is heard.
USING THE AUDIENCE
If you would rather let your audience members sit in the front row
seats, add a row of additional chairs on the apron or in front of the
front row for the characters to use.
It could also be an interesting challenge for your cast to actually use
seats in the audience. Just reserve a few seats at the end of a row
or in the front and let your actors have fun performing the show in the
audience’s midst, but still acting as if it is a dress rehearsal with no
audience in attendance.
STYLE FOR THE PLAY WITHIN THE PLAY
In addition to cheesy or exaggerated British accents, everything else
can be exaggerated, too. There should be no under-acting during this
play within a play. Try as they might to make it a good show, it’s just
really bad and the actors should feel free to explore the most extreme
characterizations.
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It would also be a good idea to change it up a bit for each repetition
of the murder scene. There is some variation written in already, but
on top of that you might try to do it faster each time, or adding an
extra level of exaggeration each time, which will give it an extra dose
of humor.
FIRE POKER NOTE
The six fire pokers should be preset onstage so that they can be
grabbed quickly during the blackouts. They could all be hidden behind
the couch. All of the death scenes may be done by simply tucking the
fire poker under each actor’s UPSTAGE armpit so that it appears to
be sticking out of the chest as they lie on the floor. Stage blood isn’t
necessary. The important part is that these deaths happen quickly
during the brief blackouts. If you have the capacity to do more with the
fire pokers or want to work with stage blood and can do so quickly, go
for it.
FLEXIBLE CASTING
To make the show better suit your particular production needs, there
are three parts that can be played as either male or female with simple
changes in pronouns throughout. These are INSPECTORS WRIGHT and
FULLER and ADELE, whose name can be changed to Amos Sears. It’s
also possible to change ERICA and SUSAN’S roles to male roles if
further flexibility is needed.
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