REVIEW | Kathy and Stella Solve a Murder, Bristol Old Vic
★ ★ ★★ ★
Reviewer - Eliott
*Disclaimer: Gifted tickets in return for an honest review
When Kathy and Stella first premiered in 2022 at The Edinburgh Festival Fringe, setting up at Paine's Plough Roundabout, I witnessed the show during quite a heavy rainstorm halfway through August. But its theme of strong female friendship, and the art of reeling an audience in to investigate a murder, suddenly took you away from the damp and dreary real life, and forced you to think fast with your senses and figure out the crimes with your newfound friends. The production returned to the Fringe this year to rave reviews, under the udderly ridiculous purple cow in Underbelly George Square, and now, with 25 minutes of added content, brand new songs (a strong Act Two Opening), plus an interval that allows you to discuss your theories with fellow theatre goers and true crime fanatics, Kathy and Stella has opened at The Bristol Old Vic on its first of two stops, heading to Manchester Home this October.
When Kathryn here at Theatre & Tonic reviewed the show in August, she admitted to struggling at times to hear the words and music in a venue that didn't hold acoustics well, and having been with her for that performance, it's a relief to find that housed in Bristol's beautiful Old Vic, Jon Brittain's tantalising script and Matthew Floyd Jones’ exquisite songwriting are delivered with crispness, you’re able to hear every word and pop your head to the beat when sucked into the drama unfolding on stage.
Talking of music, the way it delivers so much potential for every member of the cast, is a delight to see on stage, no performer feels left without their big number, so whether that's Rebekah Hinds and Bronté Barbé's 'If I didn't Have You', Jodie Jacobs’ scene-stealing performance in 'The Show is Over', Imelda Warren-Green's 'Total Fangirl Moment', or TJ Lloyd's sinister turn in 'If I Did It', there's a number for everyone, tied all together too from the enigmatic Jacob Kohli and Sarah Pearson, who act as ensemble, and also cover roles in the production in case of sickness during the run.
If there's one thing that has excelled in every stage of this show’s development however, it has to be Peter Small's exceptional lighting, and Cecilia Carey's set and costume design. Together, they push what this show can achieve to the limits, with bold choices paying off with huge audience applause, and some genuine 'jaw-drop' moments; the whole Murder Con segment in Act Two is a feast for the eyes, with stunning backdrops and some cheeky gags (we love a good hashtag), but then Small's design, with the music alongside, adds vibrancy and includes us as an audience in moments that make us truly feel 'a part of the story'.
With Bristol getting a chance to witness this triumph in musical theatre until the end of September, before handing the show over to Manchester in October, it's currently unclear what may be next for Kathy and Stella, but it's productions like this that we should savour more as regional audiences, because it's rare sometimes to see such on and off stage talent grace stages like this.