Sleuth is advertised as “The World’s Greatest Thriller,” it may well be of its time but the twists and turns of the plot certainly keeps the audience on their toes and the cast work hard with a word-heavy text and little variation of staging.
Todd Boyce as Andrew Wyke and Neil McDermott as Milo Tindle in Sleuth | Photo © Jack Merriman
Milo Tindle arrives at the impressive home of a famous mystery writer, Andrew Wyke, only to be unwittingly drawn into a tangled web of intrigue and gamesmanship, where nothing is quite as it seems.
Far more than a ‘whodunnit’, this dark psychological ‘thriller about thrillers’ promises to baffle even the most proficient sleuth and makes for an intriguing study of human conflict, jealousy and manipulation.
Neil McDermott is excellent as Tindle, he holds the stage throughout and displays great skill whilst working with some difficult script which often dips in energy.
As Andrew Wyke, Todd Boyce handles the extended monologues well but the energy and drive of the piece is very much dictated by the style of the script and the limitations that places on performers and director.
The design by Julie Godfrey is intricate and effective, allowing Director Rachel Kavanaugh to make the most of the split level and extended staircase.
The direction is slick and inventive allowing the performers to keep the script moving.
It is worth the wait, the final reveal and in general Act 2 takes off with a different focus and energy reflecting what a fine actor such as Neil McDermott can magic out of the text.
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Reviewer: Petra Schofield
