Crime novelist and amateur detective Agatha Crusty (pronounced ‘croosty’) decides that a spell at a health spa is just what she needs to recharge her batteries and give her inspiration for her latest book.
She books into Seventh Heaven Health Spa owned by Andy Eden who started it after the early death of his wife Evie. There she meets the other participants of the health spa weekend: members of the Zara Fernandez fashion house sales team who are there as a reward for being the highest achievers in terms of sales for the year. She also meets two members of the Seventh Heaven team: Abigail the therapist and Dmitri Popov, a Russian therapist specialising in Venik massage.
Things start well with the women experiencing the choice of spa treatments on offer (Dmitri’s Venik massage using birch twigs being especially popular) until one of the group is found drowned, presumed murdered, in the Moor Mud Bath.
Enter Detective Inspector Simon Aster – a DI with a speech impediment and a penchant for complicating the simplest detection methods. When other murders follow, Agatha decides to take matters into her own hands, investigating among other things the significance of the apple tree in the health spa’s ‘Garden of Eden’.
There is of course a very healthy dose of humour throughout, but, being an Agatha Crusty murder mystery, this is also a genuine mystery with an ingenious plot to tax the little grey cells of the audience at the same time as making them laugh out loud.
Agatha Crusty (pronounced Croosty) is a crime novelist. She's also pretty adept at solving crimes. And when her sister-in-law Alice invites her to spend a few days with her in the village of Chortelby, it's not long before she gets caught up in a series of murders which seem directed at members of the All Saints Village Hall committee. From Toby, the Vicar, and Eleanor, Chair of the committee, to Harry Knott the caretaker and identical twins Olivia and Oliver Truscott-Pratt, there are plenty of suspects. And with an investigating officer as incompetent as D.I. Twigg, there are plenty of laughs as the murders begin to pile up. But, while packed full of wit and very funny scenes, this is also a genuine murder mystery with an ingenious plot which will tax the little grey cells of the audience at the same time!
"It was one of the most enjoyable and funny plays I have had the pleasure to do. The audiences thoroughly enjoyed it and the feed back has been great." Deborah Trevatt, Woodmansterne Operatic & Dramatic Society
See a short clip from the American production here:
The lovely folks at Santa Clara Players sent over a video of both Agatha Crusty comedies - both US premieres! And we just had to share with you this wonderful moment from 'Village Hall Murders' when Mandy (who was the nude model in the Art Class) takes on the role of Snow White in the Chortleby panto - and shows the rest of the class a really classy way to die!Thanks to the cast in this short clip: Ashley Faus as Eleanor, Duncan Heath as Oliver, Steve Corelis as PC Locket, Marian Narveson as Isabella, Ana Williams as Alice, Helena G. Clarkson as Agatha Crusty and Emily Brouwer as Mandy. Terrific stuff!
Geoffrey and Caroline Robertson are having a dinner party to celebrate ten successful years of Mighty Midget Vacuum Cleaners, the company he jointly owns with Tim McArthur, and to add spice to the evening they decide to make it a murder mystery dinner.
They are joined by a variety of employees and their partners. And Geoffrey has a special surprise – he has invited the well-known crime novelist Agatha Crusty (pronounced Croosty) to join them. She is in the area promoting her latest book and agrees to be guest of honour.
But on the evening of the dinner, their remote Victorian house finds itself in the centre of a storm so bad that the river floods and they are cut off. Worse, the power fails and in the darkness one of the guests is murdered. But since everybody else was together when the murder was committed, they are as perplexed as they are worried.
And when another murder happens in the same way it is no laughing matter… except this is an Agatha Crusty murder mystery so there are laughs a-plenty. And also a genuine mystery that will keep an audience guessing as well as laughing.
NOTE: This play was previously published by Silvermoon as 'Agatha Crusty and the Murder Mystery Dinner'. Under its new title it is now published by Stagescripts who handle the performing rights.
The terrific programme produced by Ovingdean Little Theatre for Agatha Crusty with a 'Cluedo' theme - brilliant!
Call Me Dusty
6m, 6f (with doubling) large cast version
1m, 2f professional version
Without doubt the finest white soul singer of her era, Dusty Springfield is for millions the definitive pop diva. Her lifestyle was the stuff of legend – and great drama. Misunderstood and often misquoted, with her relentless quest for perfection and refusal to compromise, Dusty Springfield led a tormented life.
Her stage persona – extravagant black mascara and backcombed hair – was at odds with the quiet, shy convent girl Mary O'Brien and her sexuality.
The result was a downward spiral of drugs, alcohol abuse and self-harm – but, despite all that, she produced tremendous music which still ranks as some of the finest of its kind.
Her outstanding talent is recognised by this new play about her life by Derek Webb, 'Call Me Dusty' which
celebrates the music, while exploring the dichotomy of the private person and her alter ego.
'Call Me Dusty' is now available for both professional and amateur productions:
The play received excellent reviews when originally produced by Ignition Theatre to celebrate the anniversary of the release of her first solo single 'I Only Want To Be With You' which was released in November 1963, selling a million copies and earning a gold disc.
“While the play itself will be of immense interest to the icon’s loyal fanbase… the true success of the piece lay in the universal appeal of its writing. Because ultimately Derek Webb has written a heartfelt play of a young girl who succumbs to the lure of stardom which will appeal to fans of good drama regardless of any prior knowledge of the star at its heart.” South Wales Evening Post
100 years ago last year, a flimsy Bleriot XI aeroplane left a field in Goodwick, Pembrokeshire. 100 minutes later it arrived in Enniscorthy, Wexford. It was to be the first ever flight from Britain to Ireland. The pilot was an Anglo-Irishman; son of a wealthy Irish family – Denys Corbett Wilson. He had initially set off from Hendon Aerodrome on 17 April 1912, and made the last leg of his journey from Goodwick to Enniscorthy in Wexford, flying across the Irish Sea on 22 April 1912. Derek Webb's play celebrates this achievement and the life of Corbett Wilson who was tragically killed in action flying with the Royal Air Corps in May 1915.
Out on a Limb
What will it take to bring in a government that is truly committed to taking decisions which will have a real and lasting effect on the environment? Out on a Limb explores what would happen if a catastrophic natural disaster were to precipitate the emergence of a new party and new Government - the Reality Party. In the play, we see the changes, at a very human level, through the eyes of an old man who, while totally committed to sustainable living, finds himself at odds with the new legislative powers the government adopts and with his son who is a party activist.
Out on a Limb
Roy Brown: Reclaiming Stonehenge
(5F, 3M, 3F or M)
When Roy Brown started a campaign to have the Stonehenge bluestones returned to Wales, he didn't expect to attract quite so much national fervour, nor the unwanted attention of irate druids, intent on ritual sacrifices.
If Scotland can get back the Stone of Scone, Greece wants the Elgin marbles back and India wants its Koh-i-noor diamond, why shouldn't Wales have Stonehenge back?
Inspired during a walk in Pembrokeshire's Preseli Hills, Roy Brown forms Carreg Las (Welsh for 'Blue Stone') and sets about trying to enlist the support of members of the Welsh Assembly with little success.
But when a local eco-community is about to be evicted, Roy uses the resulting media coverage as a platform for his own campaign. The campaign soon gathers momentum as stunts such as blocking the Severn Bridge with camper vans are staged.
Roy even gets a local theme park to sponsor the removal of Stonehenge back to Pembrokeshire. They can see distinct possibilities of the attraction, especially when coupled to a new white-knuckle ride...
Everything appears to be going well until Roy starts receiving more mail, some of which appears to be from irate Druids who remind him in no uncertain terms of Stonehenge's association with sacrifices, and how he could be instrumental in revitalising the ritual...
Rattled, Roy quickly backtracks and persuades the other members of Carreg Las that it would be a far better idea to create a replica Stonehenge instead.
They set to work, and then an American turns up who's interested in exporting the stones across the Atlantic... For Roy, this is one opportunity not to be missed.
Working in advertising, there's the need to 'believe' in the product one is selling, even if only temporarily. But how far could one stretch that belief, if a product or service runs completely counter to one's convictions? In this play I want to explore what happens when someone finds himself in such a situation, torn between self-preservation and self-belief. I also want to explore how people can morally justify persuading others to buy into a product or an idea when they don't themselves believe in it. Underlying the play is an attempt to expose cynical media manipulation of the public by corporations, political parties and governments.
John Tower is an outspoken judge on the hit talent TV show 'Star Potential'. As the play opens, he in his home at breakfast time. There is a report on the news about one of the contestants, Zoe Walker, who has committed suicide after appearing on the show and having been accused by John of 'being totally without a shred of talent'. A suicide note found beside the body suggests that his comments might have been the deciding factor.
Based on the story of Culhwch and Olwen from the Mabinogian - ancient Welsh tales which feature the earliest literary reference to King Arthur, who is in this tale about a giant boar - the 'Twrch Trwyth' - who terrorizes the land.
Obsession is intriguing. And in a relationship, what leads to obsession getting out of hand? How much is real, how much is a mind game? I wanted to explore obsession through two characters, the result of a broken relationship, and to let the audience in on their thoughts in a way that only theatre can do, because it is live, because the audience can directly react to the characters. I wanted, above all, to let the audience make up its own mind, and leave the play hovering over uncertainty - which is perhaps the essence of obsession itself.
Dog-eat-dog is a powerful drama, coupled with scenes of very funny comedy, about a redundant advertising executive who moves in with a group of homeless people and arranges a publicity stunt to draw attention to their predicament. It was premiered in London in 1998.
All plays shown here are available for amateur and professional production. If you would like a copy of the full script to appraise, and information regarding rights of performance and royalty fees, email firstname.lastname@example.org