Take a murder mystery and add a mix of manic, madcap mayhem - and lace it all through with music - and you have Windmill Theatre's latest masterpiece, Murder for Two. This witty, wacky two-hander directed by Luke Sheppard and Tom Attwood celebrates 50 years of exceptional productions by Newbury's jewel of a theatre (think of Sweeney Todd, Mack and Mabel, Carmen…).

We're in film noir land, supposedly a drawing-room in small-town America. A crime novelist is murdered at a birthday party thrown in his honour, and in time-honoured Agatha Christie tradition, all the guests - from his discontented wife to his sexy dancer mistress and the local psychiatrist (who turns out to be treating them all) - are suspects. Arrive Officer Marcus, the wannabe detective (slickly played by Ed MacArthur), who must race against the clock to solve the case. To do so, he needs to interrogate all twelve of them, each character played by Jeremy Legat using rapid-fire changes of props, expressions and gestures. Redeeming the script's occasional lapse into stereotype, Legat and MacArthur deliver a blistering tour de force of energy, imagination and wit.

And there's a third character - the piano. In fact, the play is really a four-hander: the duo are virtuosos on the ivories, accompanying themselves and each other and, as in the hilarious finale, duetting in brilliantly choreographed sequences of keyboard acrobatics. Despite a set that belongs, incongruously, more to a Philip Marlowe movie than the front parlour of the Southern states home of a well-heeled thriller-writer, and in spite, too, of a delightfully inconsequential storyline that's more what-on-earth-is-going-on than whodunit, this show drives forward on a high-octane mix of crazyiness, inventiveness and sheer exuberance. Murder for Two is 90 minutes of musical murder madness, delivered by Legat and MacArthur with breathtaking energy and verve, and worth every dizzying minute.