The Man Who Wouldn’t Be Murdered is an original musical written and composed by Lily Blundell and directed by Izzy Grout. The show is based on the shocking true story of Michael Malloy and the many attempts on his life, with the plan of cashing in his life insurance to save a failing speakeasy. The premise is irresistibly intriguing and Blundell marries it with a sophisticated score that creatively finds humour in this absurd case. The Man Who Wouldn’t Be Murdered is a polished hour of outstanding writing and incredible performances from an immensely talented cast. Set in 1934, the music is dripping with jazz, and the velvet voice of Emilia Grace, dressed in black as Death, starts the show off with a polished air that does not cease.

“The Man Who Wouldn’t Be Murdered is a polished hour of outstanding writing and incredible performances”

This is a show that has been in the works since 2021 and has had multiple different forms (read Milly Kotecha’s article) but it finds a new life in an intimate space at the Edinburgh Fringe, just off the Royal Mile. Performed in the round, there really is nowhere to hide, but the performances more than stand up to the scrutiny. Tony Morino (Jude Ashcroft) leads his employees on the mission for some quick cash, but it is Blundell’s character Josephine that is at the true centre of the show. Literally, she remains centre stage, accompanying the cast on the piano, but this actor/muso role lets her figuratively fade in and out of our vision as she transitions from background performer to a key player in the plot. In this way, Grout’s direction toys with the dismissal with which we often treat female characters – especially in a story that is male-dominated. The audience, like her husband, underestimate her, and her song ‘Who is a Man’ gives a new, tender strand to this otherwise true-crime focused show.

There were plenty of other impressive performances, too; Jaeyen Lian has impeccable comedic timing in his role as the un-murderable Michael Malloy. He successfully communicates the absurdity of this true story, flipping over and jumping to his feet after every assassination attempt. Jude Ashcroft is wonderful as Morino as the character becomes increasingly desperate to succeed. His vocal performance perfectly carries the angst and power of a man who could too easily lose it all.

“The tunes are catchy, the accents are… aggressive and Blundell thinks carefully about her method of storytelling”

The tunes are catchy, the accents are… aggressive and Blundell thinks carefully about her method of storytelling, pulling comedy out of unassuming aspects of the case (the ‘Life Insurance’ song was a particular favourite). This musical self identifies as darkly humorous so does not stay too long with the nitty-gritty as the assassination attempts are displayed in an entertaining montage-esque way. The characters are quickly convinced to kill and the voice of moral questioning is only hurriedly slotted in – late into the show – by the wavering Barman (Imogen Woods-Wilford). But this is not a musical too concerned with ethics, instead indulging in the bizarreness of it all.

One small note on the set – more of an attempt to make the alcohol look like alcohol and less like water being poured out of clear plastic bottles would have been welcome. A small detail, but considering how much they feature in the show, (even getting a whole song: ‘Pay Tomorrow but Today is For Booze’) it would have made a difference.

That said, The Man Who Wouldn’t be Murdered is a triumph of student theatre, and genuinely gives other shows at the Fringe a run for their money in terms of quality writing and professional execution (no pun intended). It was a joy to watch a show that had been so clearly honed and perfected, performed by a cast so clearly eager to be putting it on. And, as cannot be said about the first few attempts on Malloy’s life, you guys killed it.

The Man Who Wouldn’t be Murdered is playing at theSpace @ Niddry St on Aug 6th-10th, 12th-17th, and 19th-24th.