THE MOUSETRAP | ST MARTIN’S THEATRE, LONDON
★★★★★
“Director Denise Silvey has reinvigorated a classic…”
‘Three blind mice, three blind mice, see how they run, see how they run…’ a refrain you’ll likely be humming long after enjoying director Denise Silvey’s taught new production of Agatha Christie’s record-breaking (it’s now in its 74th year on London’s West End) whodunnit, The Mousetrap.
Stripping the script back to Christie’s original text while excising superfluous business that has extended the title’s running time over the years, Silvey has reinvigorated a classic. Her understanding of Christie’s writing and rhythms ensures pace, while a more naturalistic performance style allows the current company to banish any thoughts of The Mousetrap being a museum piece.
That’s not to say moments of melodrama don’t still remain, after all, it wouldn’t be a Christie without them, it’s just that where characters and moments require that approach, they are never overdone.
For a piece that began life as a radio play called Three Blind Mice back in 1947, The Mousetrap has endured remarkably considering the social attitudes of the day originally reflected by its characters. Thankfully, in this production Silvey eschews lazy overt stereotypes in favour of a slightly heightened truth that makes sure no character outstays their welcome, each staying entertaining throughout.
And so to West End performance number 30,634. House music of the era sets the scene before the curtain rises on Monkswell Manor, or should that be Monkwell Manor? On its opening day operating as a guest house, owners Mollie and Giles Ralston are nervously expecting their first visitors – Mrs Boyle, Christopher Wren, Major Metcalf and Miss Casewell?
In the best tradition of any Christie mystery, each boast their own peculiar idiosyncrasies, not to mention secrets, and it’s not long before there’s a body on the floor and the hunt is on for a murderer. Could it be one of the expected guests or perhaps its unexpected arrival, Mr Paravinici? Never fear, Detective Sergeant Trotter is quickly on the scene, determined to sort the clues from the red herrings and solve the crime.
Bringing the investigation to life falls to an eight-strong cast, each of whom shine. Saranna Parlone impresses as Mollie Ralston. It’s a glorious, multi-faceted performance that brings a gentle humanity to her character. Parlone and Ben Riddle, as Giles, share an easy chemistry as the married guest house owners.
They do say you know you’re getting older when policemen start to look younger, Ben Galvin certainly stands that up. His youthful Sgt Trotter is nonetheless completely believable in a likeable yet authoritative turn as he ticks off the suspects.
With all the awkward innocence of Mr Bean combined with the manic magnificence of Robin Williams, Stefan Chanyaem’s Christopher Wren is comedy gold. On paper, these contradictory influences shouldn’t work. In practice, Chanyaem weaves them together to create a captivating, laugh out loud and always sympathetic character, no matter how badly he appears to be behaving
All four receive strong support from Joanne Henry, a nicely deliciously cantankerous Mrs Boyle, Anna Rawlings, a chic Miss Casewell, James Staddon, a steadfast Major Metcalf, and Dugald Bruce-Lockhart who, as Mr Paravicini, never overplays the exaggerated nature of his flamboyant character. All bring a playfulness to the production that is infectious.
Another nice touch, for older audience members to listen out for, is the voice of the late, great Deryck Guyler as the radio presenter.
It’s all played out on Roger Furse’s baronial, yet cosy set design, which stands the test of time and makes for a intimate (and on this occasion thankfully air-conditioned) experience in the boutique 550 seat St Martin’s Theatre.
Book now, but remember, once you have seen The Mousetrap, you too will be complicit in keeping the secret of… whodunnit.
Full details and tickets HERE
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