Can you Catch the Killer Actors handbook HOW THE EVENING WORKS (BASIC) Our mysteries work to a three part structure. The first part is played out by you, the cast: it's a tongue in cheek, comedy affair with plenty of jokes and by the end of the first part a murder is discovered. The second part is interrogation, where the players in teams get to interrogate each of the suspects to determine WHO the murderer was, WHY they did it and HOW they did it. In the third part, also acted out by our cast, we reveal the solution and the team who got the answer correct, or closest to correct. We may also be performing as part of a murder mystery meal. In this instance we would perform part one before the starter, the interrogation before (and during) the main course, and the final part before dessert. We generally perform cabaret style with our actors moving amongst the players who would be at a number of tables. We suggest tables of no more than 8 to 10 players with, ideally, no more than two teams at any one table. Although we have found that a cabaret style layout works best for these events we are able to adapt to any space, so all events may not adhere to the cabaret layout. The performance time is approximately 1 hour 30 mins this may vary dependent upon the number of teams attending, each of whom require time to interrogate the suspects. This means that a smaller audience might result in a slightly reduced performance time whereas a larger one might result in a somewhat longer time. In the event of a Murder Mystery Meal our performance time will depend on the way the meal is served.
HOW THE EVENING WORKS (More detail) We will arrive at the venue typically between one and two hours before the start of the performance. Upon arrival the head actor (usually Kenny) will liaise with the contact for the venue and set up the performance space with clue sheets, answer sheets, pens, CDs and any roller banners etc and talk to whatever tech staff may be on hand to establish the correct levels for the background music and the ideal lighting state for the performance. The head actor will also decide at this point how the actors should move around the tables for the interrogation act and discuss this with the other actors. Typically it is best to move around the room clockwise with a gap of one or two tables between each actor if the audience is large. The cast should have be shown to dressing room facilities. In a theatre this should be a literal dressing room, in hotels or private hire venues this may just be a hotel room or private room away from the guests. During the run up to the start of the show the cast will discuss the plot amongst themselves in order to ensure that we all have a solid understanding of the plot, and we will usually do one or two line runs of the entire show. This is also when any necessary quick change costumes etc would be set in position. Part 1 introduction to the characters Part one is introduced by a sound clip that introduces the concept of the evening to the audience before the first actor steps on stage. If you would like to hear this sound clip ahead of the evening please ask Kenny and he will send it to you via email. The clip ends with the lines Can you catch the Killer followed by a loud explosion sound effect. Following that the first actor on stage should enter. Part 1 is scripted and should run (more or less) as planned based on the script. At the end of the first part the actors will leave the stage as outlined in the script but we won t go far. We will return to the audience after only a minute or two to avoid them getting bored or fidgety! Part 2 interrogation The interrogation stage is timed using background music and sound effects. Each table will interrogate you for three to five minutes and you will know when to move on when you hear a loud gun-shot sound effect. Don t dally at a table once you hear the sound effect, as then you are eating into the next team s time with you. Because the audience can hear the sound effect too they are less likely to try and hold you at the table for more questions.
Because of the time restraints on the audience they usually won t have much time to stray far from the plot. However if they do start asking you questions about yourself as an actor try to stay in character and lead them back to the plot. If they are asking questions that are going far too far down the wrong route then try to lead them back to a more relevant line of questioning. It is important that only the murderer can lie, so if you feel as though you are being asked questions that may identify you as a liar or as having a different story from everyone else, but you are NOT the killer, feel free to be evasive or avoid the question. Ultimately we want the game to be fair, fun and challenging, so don t set out to be unhelpful to an audience and insure they don t get the answer as this is a little unfair but similarly don t be SO helpful that the answer is obvious and all the fun is sucked out of the game! Careful analysis of the plot ahead of the event will help a lot in the interrogation stage of the mystery and discussing any shared plot points with the other actors before the mystery begins will also ensure all our stories synch up when they should. After you have talked to every table the head actor will make an announcement to the audience that they now have five minutes to fill in their answers and we will all leave the performance area for five minutes. If there s time, this is a good opportunity to run part 3 in the dressing room if anyone is unsure of it. The head actor will collect the answer sheets, return to the dressing room and we will choose a winner and loser as quickly as possible. Remember that at this point the audience have finished solving the crime and are literally just sitting waiting to find out if they are right, so try to be decisive. Part 3 the reveal We will return to the performance space in order to read (and lightly, inoffensively mock) each team s answer. Each performer will have a handful of answer sheets to read out and typically the head actor will begin the process and will have the winning and losing team sheets to refer back to later. This is a simple case of reading the answer sheets one after the other. For the comfort of the cast it is sometimes a good idea to decide the order in which each actor will speak ahead of time. Remember that at this point you aren t telling the teams who won and who lost as that would render the dialogue that follows pointless. Immediately after the last answer sheet is read launch right into the dialogue for part 3 which is scripted. After the scripted dialogue an actor (usually the head actor) will award certificates to the winning and losing team and invite them, and anyone else who wants to join us, to be in photographs with the cast. Should you not wish to be photographed please let Kenny and the head actor know ahead of time.
Following photographs the head actor will assemble any surviving pens and answer sheets, take down the roller banners and collect the CDs.
REHEARSALS We do not feel that formal rehearsals are necessary particularly given the busy life style of most of our actors, the unpredictability of the spaces we are going to and the fact that the same script may have been performed by our casts a number of times in the past. As such you are required only on the day of performance and your fee is for that day only and doesn t require you to attend any rehearsals. However should you wish to meet up for a rehearsal ahead of the event I will always make time for this and I would far prefer you be comfortable with what you are doing and give a good performance than struggle to prepare on your own. Please do not hesitate to ask should you require a face to face rehearsal and I will make myself available. Because we don t have any formal rehearsals it is crucial that the actors on our events have a solid grasp of the script and understand the plot. Please prepare an appropriate amount and know your lines. Due to the nature of the events a degree of improv and ad lib is absolutely fine and the lines don t have to be said exactly as written (throwing in your own character quirks or jokes is absolutely fine and part of building a rapport with the audience) but it is important that you get across the meaning of the line and that you appropriately cue the actor who will speak next. If you have any questions about the plot please get in touch and I will try to clarify. Usually we will run the whole performance in the car on the way to a gig, at the venue before the gig and whenever else we get the opportunity so there will be plenty of chances to run the lines together before we go in front of the audience on the day of the performance. COSTUME Generally costume is your responsibility as the actor. However, if you ve been cast as something quite outlandish like for example a nurse or a wizard and you don t have a nurse or wizard costume then please contact Kenny and he will either provide the costume or agree a budget with you should you want to go get one for yourself. Don t feel you have to go and spend a huge amount of money on buying costumes if you don t have anything appropriate!
GUIDELINES Don t swear I know, it s hard sometimes when we re all improvising and ad libbing, but try to avoid any language that anyone might find offensive even if the audience don t seem like the kind to be offended by it. You never know what people might react to and even if there aren t any children in the audience we want to present a child-friendly performance so that anyone in attendance knows they can bring younger audience members in the future (or hire us for a really odd murder based children s birthday party I suppose.) Don t get drunk It s highly unlikely you will have the chance to drink at all, but usually our events have a bar and on very rare occasions audience members have offered us drinks during interrogation or after the show. I don t mind you accepting a drink (provided you aren t the driver obviously) but know your limitations. Remember you are at work, and representing Can You Catch the Killer. Remember too that you represent the company even after the event has finished and until we leave the venue. Avoid physical contact Bear in mind that even if the audience are incredibly friendly it is best not to make uninvited physical contact with them. Some people don t like to be touched and it may make them feel threatened or unhappy regardless of your intentions. Try not to be offensive I know, you might be playing a character who is rude, abrasive and unpleasant. But you will make your job very hard if you are rude, abrasive or unpleasant to the audience during interrogation or ad-libbing as you never know how they may react. It s best not to poke fun at anyone s mannerisms or physical appearance as you never know what they may be very sensitive to. Generally it s a far safer bet to be rude to or about your fellow actors, who understand your just playing a character and won t react badly. If you feel threatened or unsafe We are very lucky, in that we have never had any aggressive or threatening audience members and our gigs have always been attended by generally very nice people. you don t need to accept intimidating, rude, racist or sexist remarks. This is your job and we will not tolerate our performers being in any way threatened. If you feel unsafe or attacked in any way leave the table, go to the head actor/kenny and they will contact venue staff or security as required. You have absolutely no obligation to put yourself at risk and are not expected to. You don t have to stay in a situation where you feel unsafe and we urge you not to. Try to stay in character if someone asks what you do, etc even if they are clearly talking about you and not your character try to steer them back to the game by answering in character. They only have a limited amount of time and it s best to try to get them to use it on the game. If they persist and if you are comfortable doing so suggest that if they want to chat they ask you questions after the event is over. Once the mystery is concluded you may drop character but, obviously, remain professional. Remember you represent Can You Catch the Killer even after the event finishes.
Have fun and relax cheesy? Yes. But very good advice. Some audiences are gifts and will laugh at everything from the outset, some you will wonder whether they are even breathing, but provided you have a good time with them we find that even the most stoic audience will find your enthusiasm infectious. Our events are all about having a good time and that includes us as well as the audience.
Transportation Transportation should be arranged ahead of the gig usually in an email or facebook group chat conversation with the cast. Invoices Send invoices to accounts@canyoucatchthekiller.com Kenny will let you know the fee when booking you for a gig but the standard fee is 75 and drivers will be given a fuel allowance as well. Send your invoices as soon as you can after the gig. You will be paid as soon as the venue pays us or within 30 days of your invoice. If a venue fails to pay up for any reason you will not be out of pocket. Your fee is guaranteed. Questions? Email: Kennyiboyle@hotmail.co.uk Info@canyoucatchthekiller.com Accounts@canyoucatchthekiller.com Phone : 07886445506 Thank you for reading through and thank you for being one of our actors at Can You Catch the Killer.
Example answer sheet :
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Example certificates :