‘Cluedo’ Comes to Life on Stage at Theatre Royal Sydney: Review

When you’re working from a household name like Cluedo, the expectation is clear: the iconic rooms of the mystery mansion have to deliver. And in this case, they do.

Currently playing at Theatre Royal Sydney, this stage adaptation leans heavily into the visual nostalgia and recognisable structure of the beloved board game, while building something much more theatrical around it. The result is a lively, fast-moving production that understands exactly what it is, and doesn’t try to be anything else.

Billed as the “hilarious whodunnit play”, you could be forgiven for wondering how a game built on rolling dice, moving tokens, and eliminating suspects could translate into a compelling live performance. After all, the original format is more about deduction than drama. 

It’s usually the actors but the iconic rooms of the mystery mansion Cluedo had to deliver for this play to be a success… the stage does, at times, threaten to steal the spotlight.

But this adaptation, written by Sandy Rustin and based on the screenplay by Jonathan Lynn, finds its rhythm in pace, humour, and theatrical flair.

“Murder and blackmail are on the menu when six mysterious guests assemble at Boddy Manor for a night they’ll never forget,” the official Cluedo play description reads. 

“Was it Mrs Peacock in the study with the knife? Or was it Professor Plum in the library with the wrench?” It’s a premise that remains instantly familiar, and the production wisely doesn’t overcomplicate it.

Even before the house lights dim, there’s a sense of intrigue. Audience members are subtly drawn into the world through pre-show moments, with characters like a maid, cook and butler moving about, setting the tone. It’s a small touch, but an effective one. It signals early that this is a production intent on immersing its audience, not just entertaining them from a distance.

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Once underway, the show leans into its comedic potential. Without giving anything away, the final minutes see accusations flying in all directions, with the audience very much along for the ride. In truth, accusations form the backbone of the entire narrative, tying the plot together as suspicion shifts from one character to another in rapid succession.

The relatively small cast works hard, bringing to life the familiar lineup of Professor Plum, Mrs White, Reverend Green, Miss Scarlett, Mrs Peacock and Colonel Mustard. Each character is played with a distinct personality, striking a balance between caricature and credibility. 

There’s a clear understanding that these roles are already embedded in pop culture, so the performances aim to honour that recognition while still feeling fresh.

The Australian cast this game of whodunnit that’s includes Octavia Barron-Martin (Cook), Rachael Beck (Mrs White), Laurence Boxhall (Reverend Green) , Lib Campbell (Yvette, the maid) , Olivia Deeble (Miss Scarlett), David James (Professor Plum), Nat Jobe (Bobby), Genevieve Lemon (Mrs Peacock), Joshua Monaghan (Mr Boddy), Adam Murphy (Colonel Mustard) and Grant Piro (Wadsworth, the bulter), keeps the energy high throughout. Their chemistry is particularly evident in the ensemble moments, where timing and physical comedy play a crucial role.

Designer James Browne said “designing for cludeo was a dream come true”, and I agree. The set stands out as a dynamic character all of its own. Broddy Manson embraces its period setting and theatrical roots. The single location is transformed ingeniously to suggest multiple rooms, creating a sense of constant motion within the confines of the stage The design supports the storytelling, enhancing both the mystery and the comedy without overshadowing the performances. Rather than detracting from the performances, it enhances them, giving the actors a dynamic playground to work within.

It’s also worth noting that this isn’t a family-friendly romp in the traditional sense. The production carries mature themes, and the theatre makes that clear, with warnings about murder, sexual references, weapons and flashing lights displayed before audiences take their seats. None of this will surprise those familiar with the source material, but it’s a helpful reminder that this is a more adult interpretation of a classic game.

It doesn’t attempt to reinvent the wheel, but it doesn’t need to. Its strength lies in execution rather than innovation.

Critically, Cluedo sits comfortably within a broader trend of stage adaptations of well-known films and properties. The 1985 film, produced by Paramount Pictures, has long held cult status, and this version draws on that legacy while carving out its own identity. It doesn’t attempt to reinvent the wheel, but it doesn’t need to. Its strength lies in execution rather than innovation.

For a community-faith audience, there’s something interesting in the shared experience this production creates. While the themes centre on deception and mystery, the communal aspect of live theatre, particularly one that invites laughter and collective guessing, offers a reminder of the simple joy found in gathering together and engaging with story.

For a community-faith audience, there’s something interesting in the shared experience this production creates.

Cluedo may not be profound theatre, but it’s not trying to be. It’s playful, self-aware, and consistently entertaining. And sometimes, that’s exactly what an audience is looking for.

Cluedo is playing at Theatre Royal Sydney until May 10.

This article was partly prepared with AI assistance and then carefully reviewed, fact-checked, and edited by our Digital Team.

Feature image: Cluedo Play/Jeff Busby