We begin on the Titanic. An ideal setting for a murder mystery, don't you think? First class. A widow, a magnate, two young lovers, a grifter, a confirmed bachelor, and Tennessee Blossom, close personal friend of Sir Arthur Conan Doyle, along with the White Star staff are in a room. One of them ends up dead. The iceberg is a convenient distraction. Then, the captain's orders: no murderers allowed on the lifeboats. The game's afoot with a mystery that must be solved before the ship goes down...

And then, something starts to shift. The characters begin to sing. We learn we are actually backstage at a Broadway show based on a Titanic. A private eye is visiting. And one of the actors ends up dead. It's a noir.

And then, another shift as a film director yells 'cut....'

On the surface it’s a traditional locked-room mystery comedy. Below that, the play seeks to examine the construction of murder mysteries themselves, the drive to stage and imagine murder, even how issues of class and gender impact the genre, and what it says about us. It intentionally evokes, calls into question, and/or subverts Sherlock Holmes, film noir / The Maltese Falcon, Columbo and Murder She Wrote, Clue, even the true crime media like the Serial Podcast.

It's a night to remember.

[Licensing through Stage Partners]