Writer: Agatha Christie
Directors: Ian Talbot and Denise Silvey
Agatha Christie’s venerable whodunnit celebrates its 70th Anniversary – it was first performed in October 1952 before moving to London in November of that year – by embarking on another nationwide tour so that more 
might be able to enjoy its twists and turns.
Christie, the Queen of Misdirection, is well-known for her complex plots that cover the who, how and why of the crimes – along with plenty of red herrings, of course – but not so much for depth of characterisation – and that is all true of The Mousetrap. Characters are painted using the broadest of strokes with little nuance as the plot unfolds in which there are mysteries to be uncovered and skeletons to be removed from closets before the story wraps up. And, of course, at the end of each performance, the murderer, with a metaphorical wink, encourages the audience to keep the secret for future audiences.
It’s a familiar trope, a country house populated with strangers with secrets they prefer to keep hidden who find themselves embroiled in a murder. In this case, it’s Monkswell Manor that Mollie and her husband Giles have inherited. Despite not having the first clue about managing a boarding house, they open one. The play opens as they await their first paying guests while snow falls increasingly heavily outside and a radio news bulletin tells of a murder of a woman in London.
Mollie and Giles (Joelle Dyson and Laurence Pears respectively) married a year ago after a whirlwind romance. On the surface, they’re deeply in love, but it soon transpires that they actually know little of each other’s backgrounds prior to meeting. The guests arrive: Christopher Wren (Elliot Clay), a rather childlike and camp young man who nevertheless has a fragility about him; Mrs Boyle (Gwyneth Strong), a middle-aged lady who finds fault with everything she sees and patronises everyone; Major Metcalf (Todd Carty), full of military bluster; and Miss Casewell (Essie Barrow), a brisk no-nonsense young lady dressed in a very masculine fashion. They have barely met and sized each other up before a further mysterious guest arrives. He introduces himself as Mr Paravicini (John Altman), claiming his car overturned in the deepening snow and asking for sanctuary. He has an accent that seems to be on the Grand Tour and a suspicious use of make-up to change his appearance.
As the weather closes in, there’s a call from the police: residents might be in danger and, bang on cue, Sergeant Trotter (Joseph Reed) arrives on skis, of all things, the very definition of policemen always looking younger. There’s a murder and Trotter gathers everyone together for questioning. Eventually, motives become clear and the murderer is unmasked to meet justice.
Christie’s skill in plotting carries the story along with its own internal logic, scattering clues as we go so that the final reveal has a satisfying inevitability, at least retrospectively. The first half is necessarily slower moving as we are introduced to the characters and the manor; after the interval, however, things speed up becoming more and more fraught as each character tries to keep their secrets hidden. The realistic set oozes 1950s austerity with comfortable chairs, arches and a large fireplace, allowing the characters to have their exits and their entrances in an almost farce-like manner. While each cast member does their best to bring some depth to their characters, even to the point of heroic overacting, they are doomed to remain two-dimensional and subservient to the plot.
The Mousetrap might well be getting a bit creaky after seventy years but take it on its own terms and it’s fun to try to follow Christie’s machinations. For Christie fans, of course, it’s required watching. A pleasant escape from everyday realities.
Runs Until 5 November 2022 and on tour
The Reviews Hub Score
Creaky but fun
