Creator: Leo Doulton
Virtually Opera’s Come Murder an Uncanny Thing is an ambitious and peculiar production, blending immersive theatre, audience agency and operatic storytelling. Presented at COLAB Tower in Southwark, it is one of three shows in the Uncanny Things trilogy, a series that aims to create a living, breathing world where the supernatural is woven into the fabric of the audience’s decisions.
The small cast is committed and capable, and their ability to roll with the unpredictability of an interactive show is excellent. However, this is a production that relies almost entirely on the audience’s willingness to engage. It demands a certain kind of crowd – one that is eager to embrace the weird and play its part. On the night attended, the audience was such, and the show consequently thrived with lively discussion throughout. But it is easy to imagine an evening where the energy in the room is not so willing, and in that scenario, the entire experience could falter. This is a high-risk approach to storytelling.
As the title suggests, Come Murder an Uncanny Thing revolves around an execution, of sorts, but as with all good immersive theatre, it is not quite that simple. The premise involves a rogue bargainer who has captured an Uncanny Thing, a supernatural entity of power and danger. The audience is tasked with deciding its fate. The catch? In two and a half hours, its power will be released, whether it is ready or not. This ticking-clock structure lends an urgency to the proceedings, but the actual process of reaching a conclusion can feel meandering at times, as audience members negotiate and debate the best course of action.
One of the most interesting aspects of the show is its use of music. The idea that supernatural beings in this world respond to song rather than speech is a neat justification for the operatic elements. It transforms what could have been a gimmick into something integral to the show’s mythology. The style is simple but evocative, enhancing the eerie atmosphere and reinforcing the sense that we, the audience, are engaging in something both sacred and ominous.
The production is undeniably ambitious, and its world-building commendable. Virtually Opera has crafted a setting where each audience’s choices shape the narrative, making repeat visits potentially rewarding. Come Murder an Uncanny Thing is an interesting experiment in immersive opera. It is not flawless, and its success hinges on its audience as much as its cast. For those willing to step into the unknown and engage with the strange, it offers a compelling, if uneven, journey into the uncanny.
The Uncanny Things Trilogy runs until 30 March 2025
