That's what I do, and when I make that statement I tend to get noticed. But it's not as bad as it sounds, really. All we do is to perform murder mysteries in hotels in the UK.
It is a live, interactive performance and we mingle with the guests through out the evening or even for a whole weekend! Naturally, this type of intimate one-on-one performance is not without it's risks as the audience can react in a totally unexpected way, but not many performers can honestly say they get to know their audience in the way that Murder Mystery actors do.
The trouble is of course, that the guests can be loose cannons. Most times though it can result in an immensely humorous incident that we talk about again and again.
There was a famous incident at the Plough and Harrow in Birmingham. A middle age lady came up to me and she clearly had no idea what was going on. The amount of alcohol she had consumed had done little to assist her either. She asked me who the characters were and I explained. SHe asked me what had happened and I explained. I told her that one of the characters, Trinny, had returned from a trip in Europe, expecting to marry Paul. Only Paul had married Eve. My character had returned from the European trip with Trinny and as I explained to my inebriated guest that Trinny was expecting to marry Paul and all the way back form Italy she had talked about little else.
The woman took on a very puzzled expression and looked at me straight in the face and asked "So, who's Little Else?"
Murder mysteries are a lot of fun but for an actor, it is a completely different discipline to stage, television or film work. The most important thing is that an actor must - at all times - stay in character. It is our golden rule, our prime directive, our mantra. Apart from that the acting must be done in a different way too. For instance - let's suppose there is a big scene to be performed.
Let's set the scene. You are playing a character called Mary (if you are a bloke, just pick up on the major points - you'll get the gist.). You have just discovered a love letter from another woman to your husband. You are outraged. You confront your husband with this information. You rush over to him waving the love letter under his nose and shout, "Is this true?" "Who is she, how long has it been going on?" You break down in tears; you plead, you cry, you wail and you turn out a magnificent performance that should have the whole audience reaching for their tissues.
Except you've done it all wrong.
Oh there was nothing wrong with your acting: - in fact it was excellent but the problem is that with murder mysteries the audience isn't still, it isn't quiet and it isn't always facing you. We have to perform our major scenes another way.
Right - Take 2
You have seen a love letter from another woman to your husband. You are outraged. You want to confront your husband with this information. You ensure that your husband is the other side of the room before shouting "John, John is this true?" You DO NOT rush over to him but your argument should be conducted right across the room. He will shout back at you and you can continue "Who is she, how long has it been going on?" You break down in tears; you plead, you cry, you wail and you turn out a magnificent performance that will have the whole audience reaching for their tissues.
The act of projecting the arguments and interactions across the room has several effects. It forces the actor to be louder. It attracts the attention of the audience throughout the room. It means you do not have your back to the vast majority of the guests. It makes it easier for the other actors to realise what is happening so they can try to get the guests on their table to listen.
The majority of guests at a murder mystery do not realise the planning and work that goes into their entertainment, but the basics of acting and performing in a room full of people are simple. Be loud - Do it across the room and make sure you have everyone's attention.
Pete Giles
Director
Murder Incorporated Limited
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