The Business of Murder - Theatre Royal Review

★★★☆☆

The Colin McIntyre Classic Thriller Season has been a summer staple at Nottingham Theatre Royal for decades, and this year’s trilogy of murder mysteries has once again kept audiences guessing. Produced by Tabs Productions, the season is beloved for its rotating ensemble, who switch roles both on and off stage; one week a leading lady, the next a director, and perhaps even a stage manager the week after. It’s a unique model that has built a fiercely loyal audience base. Each year, Nottingham theatregoers flock in for their fix of suspense, deception, and dramatic twists. 

Closing out the 2025 season is Richard Harris’s psychological puzzle The Business of Murder. But the real question is: did the season go out with a bang… or a whimper?

The play itself is a verbose psychological thriller that plays out almost entirely within the claustrophobic confines of one man’s living room. The story begins with the seemingly ordinary Mr. Stone inviting a detective inspector and a television playwright to his home under different pretences. As the evening unfolds, it becomes chillingly clear that Stone has orchestrated the meeting for far more sinister reasons. What follows is a battle of shifting power, hidden pasts, and relationship revelations eventually exposed. Nothing is quite as it seems, and the audience is kept guessing until the final moments, as Stone’s meticulous plan is explained in devastating fashion.

With just three performers holding the stage for over two hours, there’s nowhere to hide. The Business of Murder is incredibly dense and dialogue-heavy, and thankfully, the trio rose to the challenge.

David Gilbrook’s Mr. Stone is by far the most watchable in Act One: calm, calculated, and brimming with subtle hints of something darker beneath the surface. His vulnerability as a caring husband and worried father draws the audience in, and his ability to drip-feed information without it feeling forced shows real craft. Unfortunately, Act Two strips that away. When the emotional past of Mr. Stone is revealed, the delivery falters; his moments of anger and vulnerability sit on the same level, leaving the audience relatively unmoved. A climactic struggle with a knife in Act Two — which should have shocked — instead drew laughs, highlighting how control was lost at the very moment the play most needed intensity.

John Goodrum’s Detective Hallett is instantly recognisable: that unmistakable bearing of the slightly smug copper who thinks he’s seen it all. The type you love to roll your eyes at. It’s a performance full of wry humour and presence, which works brilliantly in contrast to Gilbrook’s controlled stillness. Goodrum is also one of those actors who can land a realisation moment with a punch. However, the writing hampers the character. Hallett is forced into the role of a sounding board, asking neat questions so that Stone can launch into yet another monologue. He cannot be too sharp (or the twist collapses), nor too emotional (or the tension evaporates), leaving Goodrum little to play with beyond being functional.

Sarah Wynne Kordas as Dee is presented in Act One with intelligence and wit. As a successful TV writer, Dee feels like the sharpest person in the room, and Wynne Kordas leans into that with confidence. It’s therefore baffling that the script completely softens the character into a less assured presence in Act Two. Still, Wynne Kordas makes the transition believable and invests Dee with a humanity that pulls the audience in. Even when the dialogue forces her into moments of helplessness, her stillness and reactions often pull focus. It’s a thoughtful performance that hints at more complexity than the script allows.

Richard Harris’s writing is undeniably clever. Act One is almost forensic in its approach, planting seeds that explore how to fake a phone call, motives for committing a murder, and how one might control a narrative. Everything has its purpose. But the precision comes at a cost; instead of rising tension, it feels like homework. 

Act Two then unravels into a near hour-long exposition dump, where every thread is pulled together in a way that feels more self-congratulatory than surprising. By keeping all its cards hidden until the final twist (which most will see coming), Richard Harris’s writing leaves little room for the audience to engage, and even less for the actors to explore, making the drama feel more mechanical than menacing.

One of the enduring joys of Nottingham’s Thriller Season is Tabs Productions’ commitment to natural, unfussy staging. The Business of Murder is no exception. Conal Walsh’s set is neat and atmospheric, with every detail purposeful. Geoff Gilder’s costumes immediately define the characters and period, while Duncan Hands (lighting) and David Gilbrook (sound) provide subtle design choices that enhance without overwhelming.

Perhaps most importantly, Tabs Productions resists modern gimmicks. No headset microphones, no flashy soundscapes, no unnecessary projections. Just actors, text, and craft. In an age of over-engineered productions, this commitment to simplicity is refreshing. Director Karen Henson deserves particular credit for pacing and understanding the world of the play. With her steady hand on the tiller, the clarity of the storytelling shone through, maintaining rhythm and hitting those key reveals.

Ultimately, The Business of Murder isn’t the explosive firework one might have hoped for, but nor is it a damp and disappointing sparkler. It’s more of a Catherine wheel: It starts brightly, fizzes with energy, and holds the attention, even if it doesn’t quite soar into fireworks. For die-hard thriller fans, this is still a satisfying evening at the theatre, a play that challenges you to follow the clues and admire the mechanics of Harris’s plotting. For newcomers, it’s an opportunity to experience the unique charm of the Thriller Season, where dedicated ensembles and simple staging bring classic mysteries to life.

As ever, the real success lies in the company. Tabs Productions delivers another great production, proving once again why this annual tradition is so beloved. Nottingham audiences can rest assured: Thriller Season will be back next August, and with it, another round of suspense, secrets, and theatrical sleight of hand.