REVIEW: Murder Incorporated - Mayhem Theatre

Murder Incorporated

Mayhem Theatre at PIP Theatre

I walked into Murder Incorporated expecting something odd... I did not expect to leave questioning my sanity, fearing poodles, and thinking deeply about the emotional intimacy between a man and his office rug. And honestly? I had a great time!

This is a fast-paced, gleefully ridiculous farce that knows exactly what it is and commits to it with absolutely no shame. From minute one, the cast are fully aware of the nonsense they are serving and invite the audience to be in on the joke, breaking the fourth wall early, often, and with a mischievous grin.

The premise, in theory, is simple (in practice… not so much). Murder Incorporated is a business that hires assassins. Two new recruits (both of whom have drastically lied on their résumés) are paired together and sent out into the world to kill people. Or animals. Or… Tom Cruise-ship? From there, things escalate quickly and then continue escalating until the word “plot” becomes more of a vibe than a structure.

Stephanie Collins is an absolute comedic standout as Chad: a dorky, hyper-verbal nerd with a soul patch and a suit decorated as aeroplane-themed “plain clothes.” Chad never stops talking, mostly about deeply niche nerdy interests, and Collins commits to every ramble with sharp comedy, goofy accents, and ridiculous facial expressions.

Sean Wilson plays Sasha, a supposed Russian assassin who is, in reality, a cat lady with twenty-four cats at home. Sean's dry delivery and strange flirtatious back-and-forth with Chad becomes one of the show’s unexpected joys. Sam Hoepner brings unpredictability to Mr. Murder; a boss who is very genuinely, very earnestly in love with his office rug. Yes, a rug. And the rug is played by a stagehand (Ridley Paulsen), who repeatedly breaks the fourth wall and keeps popping out with a sheepish grin.

Then there is Dylan Clevens, who deserves a medal, a nap, and possibly a chiropractor. As the ultimate swing performer, Clevens plays everything else — including (but not limited to) a little frail old lady, Tom Cruise-Ship (in aviators, speaking exclusively in movie titles), and the deeply unsettling Bubblegum Poodle (or something?). His physicality is relentless and hilarious. And I will probably have nightmares about that poodle mask now.

Written and directed by Amanda Harrison, the show leans hard into being in the round, with constant movement around and through the audience. The action is up close and personal. There is truly nowhere to hide from Murder Inc. You can feel how much of the show thrives on improvisation and ad-libbing, which gives it a loose, chaotic energy that suits the material perfectly. The cast’s commitment is what really sells it. Every performer throws themselves into the absurdity with full sincerity, never backing away from how ridiculous it all is.

Is the plot difficult to explain? Absolutely.

Does it always make sense? Not even remotely.

Did I enjoy myself? Completely.

This is theatre that does not take itself seriously and that’s its greatest strength. If you love ridiculous, chaotic, self-aware theatre, I highly recommend grabbing a very large drink (or something stronger), surrendering logic at the door, and going along for the ride.