THEATRE REVIEW: The Mousetrap - The Lyceum Theatre, Sheffield.

Many years ago, the then Radio Times arts critic Sheridan Morley revealed the name of the murderer in ‘The Mousetrap’, causing much consternation, having assumed everyone already knew. Morley overlooked the fact that new theatregoers are coming of age all the time and 70 years on, this play continues to enthral new audiences.

‘The Mousetrap’ has become the architype for the genre of the murder mystery set in an English country house but it is by no means one of the best, lacking the sophistication of say ‘Sleuth’ by Anthony Shaffer or the constantly changing dynamics of Agatha Christie’s own ‘Ten Little Indians’. The play does however have a certain charm, based on a simple premise of seven random people trapped in a house in which one of them is a murderer. However, the likelihood of a house in the Home Counties subjected to such heavy snows that it becomes completely cut off does seem remote. Whenever a window opened in the play, the sound of howling winds was more reminiscent of the Swiss Alps than Southern England!

It was also curious that a Policeman was able to brave the storms on skis. Would the police in mid-20th century southern England have been so equipped? That said, the effect of a house stranded amidst snowdrifts was created well, with almost every characters' first entrance being in outdoor clothes covered in snow, usually then warming themselves in front of the open fire.

An Agatha Christie novel or play is essentially a thriller but ‘The Mousetrap’ does have a fair amount of comedy, perhaps helping to explain its longevity. In this production, there was a lot of hamming-up which on occasion bordered near-farce. The most notorious example of this was Steven Elliott’s playing of Mr Paravicini in which he attempted to beat 1930’s Hollywood star Bela Lugosi for the thickest East European accent and most mysterious persona! Some elements of comedy were more subtle such as Shaun McCourt’s portrayal of an arty young man called Christopher Wren who had escaped becoming an architect. Todd Carty, who first found fame as a child actor in ‘Grange Hill’ took crustiness to an extreme in his role as Major Metcalfe, as much Cluedo as Christie!

The most interesting interpretation was that of the Detective Sergeant Trotter by Garyn Williams, coming over as something of an over-enthusiastic schoolboy, desperate for the adults around him to take him seriously. This was countered by the cold indifference of Leigh Lothian as Miss Cresswell. Rachel Dawson and Michael Lyle as the hosts Molie and Giles Ralston were a suitable bemused couple at seeing their cut-off guest-house go from a murder scene to a life-and-death game of cat and mouse, with some nicely handled romantic interludes. The acting was good overall although there were no really memorable characters apart from the detective (aside from Steven Elliott’s impersonations of Count Dracula).

The set was truly superb with rich wooden panelling, convincing latticed lead windows and great flowing curtain as well as an array of period furniture and artefacts. The impressive entrance area helped create a real impression of people coming into a warm building from the cold, with thick rugs on the floor completing the illusion. The costuming was also well in keeping with the period.

This was a confident and well-staged production of what is really, aside from its success, a fairly mediocre play. However, it will keep you guessing to the end!

Reviewer - John Waterhouse
on - 30.5.23