Alistair Brammer, Landi Oshinowo, Sally Ann Triplett and Mark Meadows in Alfred Hitchcock Presents: The Musical at Theatre Royal Bath. Picture: Manuel Harlan
Alfred Hitchcock Presents – The Musical continues at Theatre Royal Bath until 12 April 2025.
Star rating: four stars ★ ★ ★ ★ ✩
The world premiere of Alfred Hitchcock Presents – The Musical offers a devilishly smart plunge into Alfred Hitchcock’s suspenseful and darkly humorous world, reimagining the anthology vibe of his iconic 1950s/60s TV series as a theatrical gem that is both bold and beguiling.
Featuring a jazzy, razor-sharp score by Steven Lutvak, the Tony-winning composer of A Gentleman’s Guide to Love and Murder, and complemented by a wittily macabre book by Jay Dyer (Californication), this production is a pitch-perfect tribute to Hitchcock’s twisted genius. The presence of a giant camera on stage and the black and white visuals set the same mood as the original TV series and the 14-member cast often addresses the audience directly. An example is the song ‘Everybody Wants to Murder Somebody’, which alludes to Sondheim’s Assassins, a nod to the master songwriter from the brilliant composer Lutvak, who sadly passed away in 2023 without seeing onstage this rich, versatile, almost sung-through show that was seven years in the making.
Act I moves briskly through a handpicked selection of tales from the series’ 361 episodes, including The Alfred Hitchcock Hour, with Lamb to the Slaughter, a classic tale of domestic deceit, standing out as a highlight thanks to Scarlett Strallen. The performer delivers a chillingly sweet portrayal of Mary Maloney, the seemingly devoted housewife who murders her philandering husband with a frozen leg of lamb; her rendition of ‘A Woman’s Touch’ is a masterclass in layered irony, as the sweet melody sharply contrasts with the murderous intent simmering beneath.
Another standout is Sally Ann Triplett who electrifies in her dual roles as Lottie Slocomb and Sadie Grimes, seamlessly embodying both a nosy neighbour and a vengeful spirit, while her brassy belt in ‘Dig Me a Grave’ proves to be a showstopper of vengeful glee that showcases her versatile talent.
Similarly captivating is Nicola Hughes who haunts the stage as Eve and Arthur’s Mother, delivering a soulful and emotionally charged performance in ‘Shadow of Doubt’, a song that delves into the creeping paranoia and mistrust that define Hitchcock’s world.
Gary Milner and Damian Humbley provide grounding amid the chaos with their roles as Roman/Detective Novak and Courtney, respectively, and their duet ‘The Frame’ is a tense, jazzy unravelling of mistrust that mirrors the intricate plot twists Hitchcock is renowned for.
Cleverly weaving these disparate narratives into a cohesive whole, the musical delves into themes of guilt, paranoia and the sinister undercurrents of seemingly ordinary lives, with Act II, despite occasional pacing issues, exploring psychological suspense and the unsettling complexities of human nature through the introduction of new characters and stories inspired by the original television series.
Brilliantly orchestrated by Jason Carr, Lutvak’s score is a masterful blend of mood and melody, combining 1950s jazz with a film noir vibe, as ‘A Woman’s Touch’ swings with sinister lightness, ‘Dig Me a Grave’ pulses with gritty brass and biting lyrics, ‘Shadow of Doubt’ slows the tempo with mournful strings and noir-inspired vocal runs, and ‘The Frame’ crackles with syncopated rhythms that echo plot twists. Music supervisor Catherine Jayes and musical director Benjamin Holder ensure pristine performances from the cast to create a sonic landscape that is both captivating and unsettling.
Directed by John Doyle, who also co-designed the set with David L Arsenault, the production conjures a stark, ingenious TV studio world complete with looming cameras, flickering screens and a monochrome palette that nods to Hitchcock’s era. Doyle’s staging, as always, is a masterclass in economy, skilfully turning minimalism into menace, though Act II’s pacing occasionally falters by stretching certain vignettes past their prime.
Dyer’s book sparkles with gallows humour and clever callbacks, striking a delicate balance between reverence and reinvention, though at times it leans too heavily on the anthology sprawl. Jonathan Lipman’s period costumes, with their crisp suits and femme-fatale gowns, pop brilliantly against the grayscale set and Johanna Town’s lighting sculpts the stage with Hitchcockian shadows, amplifying every twist and turn.
Ultimately, Alfred Hitchcock Presents is a production where the creatives’ fingerprints are unmistakable, elevating a risky concept into something thrillingly cohesive, even though the inclusion of dance breaks could add a dynamic layer to the jazzy score that sometimes craves a choreographer’s touch.
Despite these minor issues, the stellar cast and enthralling music alone are worth the ticket, resulting in a stylish and surprising show that, while needing some refinements in the integration of its plots, remains a bold experiment reminiscent of the kind of structural ingenuity James Lapine achieved with Into the Woods.
At a time when the pressure for commercial success limits the landscape of musical theatre, such a sophisticated and innovative production is a rare gem, making a visit to the beautiful Theatre Royal Bath a must-do before the show concludes its run.
Patrick Honoré
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