Chris Burgess has chosen a strong subject for his murder mystery musical: the true story of Edith Thompson, who was hanged in 1923 after her lover, Freddy Bywaters, murdered her husband. The case was a sensation, due to the revelation of intimate letters exchanged between Edith and Freddy. Burgess uses this correspondence effectively and there’s a real skill in how the story is told. The production is engaging, with much to praise.
Using Edith’s sister Avis to look back on events is a device that works hard. A lot of exposition is covered efficiently by Sue Kelvin, who takes the role, and reminds us a little too often how things have changed. Moments when Avis finds those infamous letters funny, rather than upsetting, are a mistake. It’s a shame we don’t get more sense of her as a character, and it’s hard on Dora Gee, who plays a younger version of her, as she is too much in the shadow of her sister.
Other characters fare better. The husband is brought to life by the hardworking Alex Cosgriff, who plays multiple roles. Freddy, portrayed by Dominic Sullivan, is a complex blend of confused youth and tormented lover, who grows throughout the show. And Daisy Snelson shines as Edith. She proves a fascinating character, and Snelson’s nuanced performance makes her vulnerable and sad as events progress, leading the audience to question if she really planned the crime.
Burgess’s music and lyrics are not as strong as the book, being competent rather than inspired, with a touch too much cliché. His direction is more even and shows impressive discipline, propelling the action without compromising his themes. And the show gets better as it goes on. Talk of Edith’s “tall tales” – the fantasy life she lived through writing, reading and the cinema – is fascinating. The trial scenes are focused, and the whole piece becomes more adventurous. Best of all, there are surprises: a focus on the sisters, a convincing romance between Edith and Freddy and the latter’s final song. A dark and creepy number, ‘See Edith Thompson Swing’ is the culmination of the public’s interest in the story. It might arrive too late, but it is nonetheless welcome, and is part of a strong finish for the show.
Until 10 May 2026
