‘Everyone has a secret.’
In Rebus: A Game Called Malice, the characters navigate a metaphorical masquerade, each concealing their true selves behind fragile masks. As the story unfolds, these carefully guarded secrets threaten to unravel, turning the stage into a tense game of malice where every revelation brings them closer to the truth.
As the curtain rises, the characters are amid a murder mystery game in an elegantly decorated drawing room. Hosts Paul and Harriet banter with their lively guests of this dinner party and all are enjoying this final course of the evening’s entertainment. Harriet has arranged the game, and the room is abuzz with speculation as their guests pore over the game sheets and discuss the motives and methods. But before the game’s clues come together, a real murder occurs upstairs. The recently retired detective, John Rebus (Gray O’Brien), resumes his old profession (albeit unofficially) and takes it upon himself to crack the true crime.
Unexpectedly, the audience isn’t directly invited to solve the entertainment mystery or the real crime, as Act One builds the premise sluggishly and Act Two reveals clues that fail to create a seamless resolution. The anticipated lightbulb moments are overcomplicated and rushed, especially compared to the pace of the first half of the play. Key characters to the crime remain unseen or unheard throughout, leaving the audience to grapple with the twist-heavy revelations delivered by Rebus. Nonetheless, the play’s fair share of suspense, particularly in Act One, offers enough intrigue to satisfy the detective instincts of Whodunit lovers: this is their call to the web of shady secrets surrounding the old-money elite or flamboyant personalities in this somewhat lockdown room.
Rebus: A Game Called Malice delivers more in the way of entertainment than spine-chilling suspense. This doesn’t detract from the script, which cleverly develops the evolving concept of ‘game’. It’s interesting that Rebus appears nearly unnoticeable in Act One, lingering at the edge of the fourth wall or in an invisible extension of the stage, even though he delivers short monologues directly to the audience as the lighting shifts. Rebus shows little interest in engaging with the imaginary violence game and small talks, choosing instead to occupy the role of an outsider. Positioned at the periphery of the parlour, he meticulously observes everyone and everything around him. Rebus not only calls forth the moment of the first game’s revelation but also leads and, of course, concludes the second round. All of Rebus’ puzzling moves is now clear and makes perfect sense: this is his game. He may not love it, but he’s a total pro; he shatters the old game rules and creates his own!
Rebus with this kind of darkish and witty destructor nature comes to life through the masterful performance of Gray O’Brien. While the script doesn’t provide much development for Rebus but O’Brien’s acting adds vital touches to other characters. The finely tuned cast and the meticulously crafted, one-room setting elevate this light suspense play. The music effectively underscores the premise without overshadowing the suspense. They all together create an engaging atmosphere of humour and tension, skilfully driving the audience’s second-guessing until the very end. Rebus: A Game Called Malice can be a delightful experience for both longtime followers of Rebus’s journey and newcomers like me exploring the intriguing world of the Rebus universe.
Drama
By Ian Rankin and Simon Reade
Photo Credit: Nobby Clark
Cast Includes: Gray O’Brien; Abigail Thaw; Billy Hartman
Until: 30th November 2024
Running Time: One hour and 45 minutes (including one interval)