REVIEW Prescription: Murder at Bread and Roses Theatre 2 – 6 December 2025

‘Manos Koutsis gives a genuinely sparkling turn as Lieutenant Columbo.’ ★★★1/2

Prescription: Murder follows Dr. Roy Flemming, a suave and calculating psychiatrist who orchestrates the perfect murder of his wife with the help of a young accomplice. Confident in his brilliance, Flemming believes he has constructed an airtight alibi - until Lieutenant Columbo, an unassuming, rumpled detective with a sharp mind, begins to unravel the case. As Columbo politely needles Flemming with questions “just one more thing…”, the façade of the perfect crime starts to crumble.

The cast delivers a committed ensemble performance. Max Norman, as Dr. Roy Flemming, embraces the cold, meticulous exterior of the calculating psychiatrist. Yet, despite this strong foundation, the performance doesn’t always find the necessary ebbs and flows; as Flemming’s devilish plan begins to unravel, the expected panic or desperation behind his stoicism never quite materialises.

Mimi Newby plays Claire Flemming with excitement and energy, bouncing off Norman, giving their scenes texture. Ana Cilas’s Susan Hudson begins somewhat tentatively, but she grows into the role in Act Two, finding emotional clarity and conviction. Aidan Morris is fabulous as Miss Petrie, imbuing a smaller role with distinctive personality and comic identity. Meanwhile, James Andrews offers strong additional support as Dave Gordon, rounding out the ensemble with warmth and ease.

The shift into Act Two brings with it a welcome injection of energy thanks to Manos Koutsis, who gives a genuinely sparkling turn as Lieutenant Columbo. Koutsis captures the detective's unhurried geniality, offbeat wit and surgical intelligence with real charm.  His scenes gleam with life, and his back-and-forth with Norman produces some of the production’s most engaging moments.

While Act Two benefits enormously from the arrival of Lieutenant Columbo, its pacing does at times feel uneven. Certain scenes sparkle with lively, engaging exchanges, while others unfold more slowly, gently softening the momentum at points where the tension could build more tightly. Yet, the introduction of more overt comedic tones does noticeably lift the room. These lighter beats generate stronger audience engagement and bring welcome energy to the narrative, even if the surrounding pacing issues prevent the act from fully sustaining that spark.

There are, however, moments in the direction where the production feels less assured. Newby’s approach contains some thoughtful ideas, but too often the execution feels unfinished. Claire’s killing, staged on the floor, is invisible to most of the room - an oddly anticlimactic decision for a narrative hinge point. Throughout, there are long pauses between lines that neither enhance tension nor contribute to the psychological atmosphere. With sharper pacing, cleaner cueing and bolder physical storytelling, the piece could pack far more punch.

What is crafted with real finesse, however, is the design. The staging makes excellent use of the Bread & Roses’ compact space, arranging the Flemmings’ apartment with clarity and sophistication. Even more impressive are the costumes, which not only reinforce the 1960s setting but subtly deepen characterisation - particularly in the contrast between Flemming’s cultivated sleekness and Columbo’s delightfully rumpled aesthetic.

The technical elements, though functional, would benefit from greater refinement to match the demands of a psychological thriller. Several sound and lighting cues felt either slightly late or tentatively delivered, softening moments that should have landed with crisp precision. The production’s minimalist approach is not inherently a drawback, but without tightly timed transitions or more confident technical punctuation, key shifts in tension risk losing their impact. Sharper cueing - whether in door buzzers, phone rings, lighting changes or musical transitions - would give the production a stronger sense of rhythm and help reinforce the stakes of the unfolding drama.

There is an undeniable charm to this production. The company’s enthusiasm for the material is clear, and when the show finds its rhythm, it offers moments of genuine enjoyment - from stylish visual touches to flashes of sharp humour and well-played tension. There is a clear affection for the world of Columbo, and the production succeeds in capturing the playful spirit and intrigue that have made the character so enduring.

Ultimately, this production sits in a middle ground: enjoyable, at times very charming, and bolstered by strong performances and excellent design work, yet held back by direction that needs more precision and nuance.

Reviewed by Olivia Lovat

Prescription: Murder at Bread and Roses Theatre 2 – 6 December 2025

BOX OFFICE https://app.lineupnow.com/event/prescription-murder

CAST

Dr. Roy Flemming - Max Norman

Claire Flemming - Mimi Newby 

Susan Hudson - Ana Cilas

Miss Petrie - Aidan Morris

Lieutenant Columbo - Manos Koutsis

Dave Gordon - James Andrews

CREATIVES 

Written by William Link and Richard Levinson

Directed by Mimi Newby