This play’s origins come from Paul Pörtner’s 1963 German interactive play Scherenschnitt oder Der Mörder sind Sie. The play went on to be, rewritten and titled Shear Madness, becoming the longest-running non-musical play in US theatre history.
But it is in the idyllic setting of The Mill at Sonning that this interactive comedy murder mystery is now being performed. Director Sally Hughes has taken the play and given it a refresh for an English audience with local and topical references that make it feel timeless and relevant at the same time. Alex Marker’s set design creates the perfect ambience for this comedy. It has the feeling of a retro 1970s salon while giving a nod to the play’s original roots (no pun intended). Its colourful palette of pinks, peppermint greens and flamingo wallpaper would not look out of place in a pantomime. Which is fitting as this production, with its audience participation, also has a panto-like quality. (Oh yes, it does). But Marker’s designs go further in that they create the realism of a working hair salon, including a fully functioning backwash sink, where not only hair is washed, but bloody hands are too.
As soon as you walk into the auditorium, we are plunged into the action, with the cast in full flow in the salon. Set to an 80s music track, their characters already emerging as they busy themselves until the audience are seated. I suggest that you use this pre-show action to observe the cast as vigilance is key to helping you solve the case.
The opening is very much like the pilot for a sitcom, slightly laboured in places, but necessary to set up both the characters and the premise of the play. We are introduced to Tony Whitcomb (Daniel Cane Come From Away, The Pride, The Country Wife), who is the salon owner who rents the shop from international pianist Isabel Czerny, who also lives upstairs. Barbara McMarley (Rosaleen Burton), his business partner, Mrs Shubert regular customer and socialite (Natalie Ogle) and antique dealer Edward Lawrence (Jonathan Markwood). Plus, two other customers, Mike Thomas (Gwithian Evans ) and Nick O’Brien (Paul O’Neill) or are they?
The establishment of characters is fast-paced from this ensemble of larger-than-life characters, who deliver polished lines and sometimes tarnished gags with a mix of groans and laugh-out-loud repartee. All starts to become clearer halfway through the first act with the discovery that Isabel Czerny (who we never do get to see) has been murdered. Identities, relationships and motives start to emerge as the police interrogate the suspects with the help of the many eyewitnesses in the audience.
The show steps up a gear when the lights are turned up in the auditorium and the audience's observations are called on to help solve the crime. The intimacy of the 200-seater crescent-shaped auditorium lends itself perfectly for the inclusion of the audience. Do not be put off by the suggestion of audience participation. It is up to you as to how much you want to get involved. You will have as much enjoyment as a voyeur as you will as being part of the investigation team, helping them retrace steps and piece together the evidence.
Even during the interval, the play still stays immersive with our lead Metropolitan Police investigator and his assistant gathering evidence from the audience. Crime scene tape carries on the theme and even the ice cream sellers are dressed in police officer outfits.
This show heavily relies on the improvisational skills of the cast, which were excellent. It is essential in a show like this that the actors know who their characters are beyond their lines. It is evident that Sally Hughes’s direction has helped them both master feeling comfortable in their characters’ personas as well as the space they occupy on stage. Hard work and being a tight ensemble have resulted in the slickness of the cast being so confident, quick-witted and able to deal with the many left-field and random audience questions. It takes real talent to perform a show with so many variables so slickly and so early in the run.
The second half of the show sees our characters becoming more three-dimensional. The audience interrogations result in new facts emerging and previously unknown scenarios being acted, until it’s finally time for the audience to vote for who they think is the murderer. The cast thrived with every audience question. It feels like a Wimbledon tennis match as the audience serve what they think is an ace question, only for the cast to smash them back until Game, Set, Match.
Paul O’Neill as lead detective was masterful in running the interrogations and interactive audience elements, despite several audience members trying to take the lead in investigations. He was quick-witted and kept the pace and flow going. He is supported by Gwithian Evans as Mike who was wonderfully understated in his bumbling evidence gathering that earned him his laughs. A sharp contrast to Daniel Cane’s character of Tony the flamboyant stylist, whose wit and comebacks were as sharp as his scissors. Rosaleen Burton gave Barbara the right level of sass and vivaciousness with a hint of duplicitousness that kept us guessing. She even managed to wash Mrs Shubert’s hair live on stage, while still delivering killer lines, no mean feat. Natalie Ogle gave a masterclass in deflection that left us guessing to the very end. Jonathan Markwood as Mr Lawrence for me was channelling a hint of Pierce Brosnan. Before you get too excited, Jonathan, I am thinking The Tailor of Panama rather than Bond. All enhanced with Natalie Titchener’s costume designs, that are always on point when it comes to help define the role of each character.
So, who was the murderer? As if I would tell you, and the fact is, I can’t because that’s the beauty of this production: who the murderer is depends on what your investigative talents uncover. There are 4 potential outcomes but due to the improvisational element of the show, multiple ways that will lead to a conclusion. It really is a case of no two shows are the same.
Having gathered my evidence, I have concluded that my verdict is that this show was Shear Enjoyment.
The show runs 25th June – 15th August 2026
Review: Claire Hogan Photo: Pamela Raith