The Lost Theatre Company has shone the harsh desk lamp of interrogation upon all theatre folk in this innovative and energetic one-act piece. What To Do When You Kill Your Co-Star, was so well received in the 2025 Melbourne International Comedy Festival, that they have offered a follow up, exclusive run in Melbourne.
The premise, truly is: Trust no one when it comes to performers, yet the endearing (and even not so endearing) characters will have you unashamedly rooting for their success.
Writers Charlotte Murray and Noah Sargent have created a rich, yet lighthearted tapestry of “whodunnit” theatre. They have managed to capture the essence of Shakespearean prose, the slapstick and fast paced dramedy of Clue, and the mystery of Broadway’s Curtains. This however shouldn’t be interpreted as a derivative piece of theatre.
From the outset, this piece is clear with the intent that it doesn’t take itself seriously. Without utterance of a word, the fourth wall is broken and there is an unspoken covenant between the players and the audience – we are all in on it.
Curtains up! It’s clear from the jump that this reimagining of Romeo and Juliet, “Werewolf Romeo and Vampire Juliet” is fraught with significant issues, internal politics, love triangles and out of control egos.
As described by the creatives;
A financially and creatively bankrupt acting troupes’ production of Romeo and Juliet goes horribly wrong when their Romeo dies three acts early.
In order to save their troupe from jail, or worse, being exiled from the theatre, the troupe must lie, scheme, and “yes, and” their way into the cover up of the century.
It’s giving changing of the guard from the deeply embedded theatre culture of yesteryear, to the intersectional understanding of how the arts swirl between the privilege and the margins. This oeuvre of creatives inherently bring these concepts to life.
All in all, it’s a delightful nod to ever so important fringe theatre works, particularly that developed by youth. These theatre creatives understand how to challenge the the status quo and the long held traditions of theatre, whilst simultaneously paying homage and the ongoing necessity for shifting reimagining. All whilst being hilariously outlandish and introspective.
Overall, I would have to say that this production is very much in keeping with the Melbourne theatrical tradition of fostering upcoming talent with a vision
