From Murder to Musical

London Road

A well-earned standing ovation to the brilliant, unbelievably talented and absolutely engaging cast, director, musicians and artistic team who brought this show to life at Theater Wit. In Shattered Globe Theatre’s grand finale to their 2022-23 season they are proudly presenting the U.S. premiere of this fascinating theatrical work. It’s not your typical musical and, as such, a production that might not appeal to everyone. But it’s an intelligent and truly inventive piece of theatre that earns an overused word I generally hate, but really applies to this show: Amazing!

Ipswich, England is a major eastern port on the River Orwell. It’s a picturesque Suffolk locale attracting tourists to visit the Christchurch Park and Mansion, to enjoy a play at the New Wolsey Theatre, or to flock to the historic and idyllic waterfront. But between October and December of 2006 a grisly event took place that drew thrill-seekers to the town. Known as the Suffolk Strangler and the Ipswich Ripper, a notorious serial killer named Steven Wright was eventually identified, arrested, tried and convicted for the murder of five young women. The victims all worked as prostitutes and Wright was known as a regular among Ipswich sex workers. He was convicted on DNA evidence and drops of blood that were found on his jacket.

British actor and playwright Alecky Blythe wrote the book and lyrics for this unusual musical, with writing partner Adam Cork contributing the music and some additional lyrics. The unique way in which this piece was put together is called “Verbatim Style.” It means that the dialogue and lyrics are all taken precisely from recorded interviews with various residents of London Road in Ipswich. The music even matches the rhythm, pitch and meter of the people’s speech patterns and the eleven performers duplicate this, as much as possible. Since the text for this musical’s taken directly from the exact words and sentences spoken, there’s a great deal of repetition, which can be either humorous or annoying to hear. But the overall presentation is simply awe-inspiring.

It should be noted from the start that this musical never veers off into salacious or gratuitously violent territory. Although the eleven actors in this production portray some sixty-six different actual English citizens, we thankfully never see the accused killer, his unfortunate victims nor the crimes taking place. The gifted ensemble of actors portrays a sweeping array of real-life individuals, continually shifting between ages, genders, social classes and occupations. In between a few moments of dialogue, the company sings continuously, both solo, as part of choral groups and in full unison, expressing the town’s fears and anxieties surrounding the murders. Then, once the serial killer has been captured and the trial is underway, the tiny town turns into a frenzied media circus. Now the people of Ipswich have to contend with the bright lights, mawkish newscasters and thrill-seeking tourists prowling the streets. Eventually, long after the trial is over, the town returns to normalcy…or does it?

This production is truly a team effort featuring the collective talents of some of Chicago’s finest  theatre artists. Performed in the round, my deepest admiration goes to Elizabeth Margolius for her thoughtful, creative, focused and often stylized direction and movement choreography. Andra Velis Simon has magnificently directed the musical aspect of this show, including conducting the five talented musicians who are tucked away in a tiny space above the audience. Jack Magaw’s Scenic Design provides fluidity and enough space for each actor to be fully seen at all times. Levi Wilkins’ Lighting Design cannot be ignored since it’s such an intrinsic part of this show. Smooch Medina has designed the Projections, presented with a nod to the photographic style called Camera Obscura. And Dialect Coach Sammi Grant has molded these actors into authentically-sounding East English townsfolk. 

The cast is miraculous, and each talented actor has both his or her own standout moments while forever contributing soundly to the ensemble, as a whole. The cast, which includes several Shattered Globe Ensemble Members and Artistic Associates, includes Rengin Altay, Christina Gorman, Alani Gross-Roberts, Rebecca Jordan, Tina Munoz Pandya, Steve Peebles, Linda Reiter, Steven Schaeffer, Leslie Ann Sheppard, Anne Sheridan Smith and Kendal Wilson. Each actor deserves a standing ovation.

While a cast album from this show probably won’t be nominated for a Grammy, the score features some very emotional, sometimes even humorous, songs. They include “Everyone is Very Very Nervous,” “It Could Be Him,” “A Wicked Bloody World,” “The Verdict” and “Everyone Smile.” The individual voices who sing these songs, as well as the gorgeous harmonious choral blending that continually bonds the company together, makes each musical monologue and  conversation a standout moment. 

This is an extraordinary and exceptional piece of theatre. It’s worth seeing, if only for appreciating how it was written and composed, the fine direction of this particular production and to applaud the exceptional performances and artistic contributions of a truly gifted group of theatrical artists.                

Highly Recommended

Reviewed by Colin Douglas

Presented April 22-June 3 by Shattered Globe Theatre at Theater Wit, 1229 W. Belmont Ave., Chicago.

Tickets are available in person at the box office, by calling them at 773-975-8150 or by going to www.theaterwit.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.