Programme notes describe this premier production at The Court as a ‘joyous homage’ to the detective genre perfected by the wonderful Ngaio Marsh, whose gentleman police inspector, Roderick Alleyn, is the key player. Thus the first step has been to unpick from the Marsh text of Photo Finish the playable dialogue and strategic plot points, before handing over to the director, cast and production team to reassemble the whole without the seams showing.

Fiona Farrell and Ross Gumbley have made a good stab at it, but to my mind their attempt to out-genre the genre rather subtracts from the elegant tensions of the book, without benefiting from the dash and excitement a physical rendering could bring to the original thriller.

This is not to say the production lacks colour or indeed sophistication, but in spite of a clear focus and sharply articulated characters, the intensified melodrama leaves me anticipating the critical denouement scene with more than usual enthusiasm.

The plot is a comparatively simple one. A volatile diva is in recuperative residence at a luxurious and isolated retreat on a New Zealand lake, dodging a phantom reporter /photographer who seems bent on undermining her career and maybe threatening more. The inspector is there to accompany his artist wife, who has been commissioned to paint a portrait of the famous singer. 

An unlikely opera by a besotted young fan is performed on the same evening the establishment is further isolated by a thunderous storm. No guesses as to what follows: bad behaviour, bitchy revelations, the anticipated murder followed by jig-sawing solutions from such clues as were laid along the way, until the least likely culprits are denounced to the assembled company. 

The play is peopled by larger than life characters whose puppet like qualities are exaggerated in this send up context. Thus, the gloriously imposing Isabella Sommita, from versatile Juliet Reynolds-Midgley, is a stunning caricature and highly entertaining. Similarly for me, Tom Trevella’s Raimondo Romano, quintessential opera star, takes a showy role to its limits.

For the Alleyn couple, intensely played by Roy Snow and Amy Straker, though, the concept is to my mind less kind. Their super cool elegance seems condescending (perhaps this is part of the plan).

Damien Avery as fervent fan and composer of the dud opera performed on the fateful evening, can only grovel, albeit expressively. Tim Bartlett as Ben Ruby, the American manager, is simplified to bluster and frothy frustration.

Other roles from Adam Brookfield (Montagu Reece, rich owner of the lodge), Björg Halldórsdóttir (diva attendant Maria), Barry De Lore (the butler Marco) and Lynda Milligan (inquisitive Hilda Dancy) are all crystal clear, pointed and endorsed by the detailed work of costumier Tina Hutchison-Thomas.

The purposeful overstatement extends into the performing space itself. The audience enters to the uneasy surveillance of a huge pair of beautiful (diva) eyes projected on to a central back screen. The device allows images to create super scale settings, flashback sequences and mental turmoil. On balance, the fun outweighs the distraction and video producer Ken Clark, together with set/AV designer Harold Moot, certainly support the thrust of the play. Lighting from Giles Tanner and sound from Sean Hawkins complete an effective production contribution. 

All good fun then, laid on with a cheerfully heavy hand. What is missing for me is the connection with the hunt and the spice of subtlety.

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