Taking over (quite ironically) from Ngapartji Ngapartji on the Playhouse stage, Agatha Christie’s The Mousetrap is a tightly-directed period piece as formulaic as it is popular. Come this November, it will have been playing on the West End for 60 years, and already boasts in excess of 24,000 performances.
This quintessential murder mystery funnels a number of Europeans into one room, kills one of them off, and eventually reveals who done it. The complications to Christie’s basic formula in this instance include a couple setting up shop as a guest house; a range of guests, each with their own oddities; a blizzard cutting them off from the outside world; and a potentially intriguing story about a tragedy from almost two decades earlier that took place on a farm neighbouring the guest house. These additions constitute one of Christie’s better contributions to the murder mystery genre, and make The Mousetrap a memorable play.
In this production, a talented cast delivers admirably on Christie’s characteristically verbose script. Christy Sullivan, in the role of Mollie Ralston, holds the play together, and Travis Cotton’s Christopher Wren breathes a little life into the production, but on the whole the performances seem altogether too mechanical, lacking a depth…
The rest of this post is published on Australian Stage.