The Cutprice Guignol

You know, it’s episodes like this that make me glad I decided to do this in the first place. And not just because Whigfield’s Saturday Night is so prominently featured (as it is in my head and my running playlists, always and forever).

Because an episode like Empty Orchestra, before I started this little retrospective series on Inside No. 9, is probably one I would have skipped on a rewatch. Not necessarily because I think it’s bad, because I never have – but because, usually, when I come to this show, I’m in it for a good dose of horror or general nastiness.

And Empty Orchestra isn’t that – despite a few early teases that it might be. As we follow a group of colleagues into a night at a karaoke venue, the script plays on that by-now in-built expectation for some horrible twist looming on the horizon – from the pills they all pop turning out to be Tic-Tacs, from the mention of a roofie that comes to nothing, to the names on an envelope that turn out to be related to a well-needed divorce instead of some murderous hit list, there are so many pieces here that might be a jumping-off point for the show’s well-practiced unpleasantness, but none of them bear the rotten fruit you might expect. It’s a fun conceit – twisting the twist in on itself, fooling the audience with the lack of twist rather than the presence of one – and, after an intense few episodes, it’s a pleasant change of pace.

If you know me, you will know that I am a woman of musical interests, for better or for worse, and this episode really taps into that in a way that works for me. It’s not a musical in the traditional sense – it’s an extended karaoke party with the attendant dodgy performers, there are plenty of verses skipped for a snog or a chat or what have you – but the way that Pemberton and Shearsmith use the music to fill in the gaps between these characters is really effective. Pop music makes up most of the music for this episode, a smart choice given that it’s a music genre that’s inherently emotive and direct – as a shorthand for certain character dynamics and story beats, it works well. Plus, Whigfield’s Saturday Night; need I say more?

And this is a romantic episode, a rarity in the IN9 back catalogue, but a pretty well-handled one. The sweet chemistry between Janet (Emily Howlett) and Duane (Javone Prince) really sells this shortform romance in a way that doesn’t leave it feeling too cheesy or contrived. I particularly love the way that Janet’s deafness is incorporated into this storyline, her engagement with sound through touch allowing for an intimacy that serves as a contrast to the rest of the music in this episode.

Empty Orchestra is such a unique little episode in Inside No. 9’s run (and feels like a moment to catch your breath before Diddle Diddle Dumpling, coming next week to have me flat out on my back unable to function for 3-5 business days), and I’m so glad this retrospective gave me a reason to rewatch it. I know it’s a very different episode for the show, so I’d love to hear what you think about it – does it work for you as a change of pace, or do you prefer the more traditional IN9 stories? Let me know in the comments!

If you liked this article and want to see more stuff like it, please check out the rest of my Inside No. 9 reviews. I’d also love it if you would check out my horrible short story collection, and, if you’d like to support my work, please consider supporting me on Patreon!

(header image via The Telegraph)