It is somewhat redundant to extol the virtues of The Mousetrap as a murder mystery play at this point. Aside from being one of many feathers in the cap of the country’s most prolific crime writer, it has been an ever-present staple of the stage since it was first produced. The play has resonated with and entertained audiences for decades because it is a prime example of Agatha Christie’s campy and macabre style.
This staging reflects the pedigree of The Mousetrap and the well-honed acumen of how to make it work. The set is keenly constructed to convey the aesthetics of a 1950s guest house mapped over the acutely brooding atmosphere of an ancestral manor. The dimensions convey the labyrinthine structure of the house alluded to off-stage and provide for more dynamic blocking than a lot of ‘accusing rooms’ present. Coupled with the taut and familiar script, it means that the play is running like clockwork.
The Mousetrap does not succeed purely on the basis of its mechanical construction though. If you were to ask me what the lasting appeal of Agatha Christie is, I would say it is her tone. Salacious domestic revelations exploding amongst upper-middle-class Cluedo characters alongside a portion of grizzly criminal intent allows the work play to easily shift between trivial amusements, drama and then horror. Layered on top in this instance is the knowing jab at the dated attitudes of the play: characters expressing rather unenlightened views on the working classes and women are neatly framed with wry deprecation.
Suffice to say that you can’t have a good Agatha Christie performance without a captivating cast of potential murderers and victims, and this production of The Mousetrap is in good standing. The accents are crisp, the pretensions to propriety impeccable, and the colour quirks distinct. Harriett Hare stands out as Mollie Ralston, the proprietor of the murderous Monkswell Manor Guest House, and that is amongst an assured cast from the off.
A hearty recommendation for those seeing for the first time or old hands. Just don’t spoil the ending. ★★★★☆ Fenton Coulthurst 19th March 2019
