REVIEW: Checkmate - Tugun Theatre Company

Tugun Theatre Company's staging of 'Checkmate' brought a classic whodunit to life with intrigue, layered performances, and a thrilling game of deceit. Under the direction of Cee Campbell, this play by Leslie Sands delivered a suspenseful story full of twists and turns to keep the audience guessing right up until the final dramatic moment.

Set in the living room of washed-up television actor Peter Conway, the play opens with a striking scene: Peter, played with an natural charm by Nathan Schulz, pours himself a drink after discovering his wife, Stella, dead from an apparent drug overdose. But rather than reacting with immediate distress, Peter remains unnervingly composed as he contacts the police. Enter Detective Sergeant Drummond, portrayed with quiet tenacity by Viv Gian. Initially starstruck by the former TV star, Drummond soon begins to pick apart the inconsistencies in Peter’s story. Through a series of flashbacks woven into their exchanges, the truth behind Stella’s death begins to unravel—was it an accident, suicide, or something far more nefarious?

Nathan Schulz was an undeniable force as Peter, expertly capturing the character’s arrogance, charm, and slow unravelling as suspicion mounts against him. He brought a sleazy quality to the role, embodying a man who thrives on the chase more than the prize, and who mourns the loss of his career and fame more than his wife. Peter, once famous for his role in the TV series 'Inspector Savage', means he is no stranger to playing a detective, yet now, in reality, he finds himself on the other side of the investigation. The question looms throughout the play: is Peter truly innocent, or is his innocence just another performance?

Vivian Gian, as Inspector Drummond, was the perfect foil to Peter’s self-serving bravado. Friendly yet sharp, her keen intellect allowed her to unravel Peter’s hidden financial troubles and possible motives. Their dynamic, which dominated Act One, was a masterclass in unspoken communication and intellectual sparring. Vivian’s performance was the undeniable standout, bringing a mesmerising depth to Drummond and crafting a masterful clash of wits that was rich with tension and moments of dry humour.

Peta Schulz was brilliant as Stella, Peter’s long-suffering wife. Through flashbacks, we witness Stella’s painful transformation—from a young, hopeful woman to an embittered spouse, trapped in a marriage with a man who stifles her success. Peta infused Stella with intelligence and fire, making her a formidable presence rather than a mere victim of circumstance. As the play unravels Peter and Stella’s tumultuous relationship, we see a drunken man caught in self-sabotage, constantly losing roles while refusing to let Stella work. Peter’s increasing selfishness makes him more detestable as the play progresses, but I love how Stella throws insults back at him. She sees through his façade, fully aware of his infidelities. No longer interested in playing his game, she disengages—resolute and unyielding. The chemistry between Nathan and Peta, as a real married couple offstage, made their on-stage relationship feel even more authentic and entertaining.

Chantelle Miller was a standout as Lori Nilsson, the young American actress drawn into Peter’s world. From the moment she stepped on stage in a striking red dress, she commanded attention with her confidence and allure. Her initial dismissal of Peter—boldly insulting the star of the show—was a surprising move, which made her eventual affair with him both captivating and somehow inevitable. As their (unseen) relationship evolves into something passionate and possessive, Chantelle portrays Lori’s assertiveness with moments of vulnerability, revealing an underlying insecurity beneath her confident exterior.

Robert Quirk made a strong impression as Richard Shaw, Peter’s agent, despite entering later in the play. His portrayal of a man consumed by unrequited love for Stella and burdened by guilt over her death unexpectedly enriched the play's emotional arc and filled in crucial gaps in the story. Though his stage time was limited, Robert’s performance was filled with quiet intensity.

The play’s structure demanded audiences to stay fully engaged, as much of the tension lay in the dialogue and the ever-shifting suspicions surrounding Peter. While the first act leaned heavily on conversations between Peter and Drummond, the precarious situation between Schulz and Gian ensured these scenes remained compelling. Flashbacks provided crucial context, although some moments—like Peter’s imagined interrogation of Lori (?)—recycled information we already knew. However, as the puzzle pieces began to fall into place, the pacing picked up, building to a satisfying, gripping final act.

Having seen several whodunits recently, I found the slower pacing at the start, combined with the dialogue-heavy script, required a lot of concentration—something made more challenging by audience noise and the vast distance between the stage and the audience in the hall. Despite these minor challenges, the production succeeded at immersing the audience in 1990s London, with thoughtful costumes, realistic accents, and set pieces that richly brought the world to life. The costumes, designed by Cecile Campbell and the cast, were well-chosen, with Chantelle Miller’s glamorous red dress standing out as a defining piece that encapsulated Lori’s seductive yet dangerous allure. Lighting by Jasper Lee and sound by Molly Dean were vital in distinguishing the flashbacks from the present-day scenes. Their smooth transitions ensured the clarity of the two timelines.

The final confrontation between Peter and Drummond was a masterstroke of verbal sparring, with Peter desperately trying to control his narrative while Drummond methodically dismantled it. Ultimately, the show delivered a captivating and intelligent drama, with stellar performances and precise direction. The tension built to a powerful crescendo in the final moments, culminating in a satisfying conclusion that perfectly underscored the true cost of ambition.