Vertigo Theatre has a long history with Agatha Christie’s The Mousetrap. Since 1980, the company has returned time and time again to Christie’s classic murder-mystery. This season, The Mousetrap returns for its 14th production at Vertigo Theatre, where the play was last staged in 2008.
Directed by Kate Newby, The Mousetrap finds Mollie and Giles Ralston (Anna Cummer, Devon Dubnyk) waiting for their guests to arrive at Monkswell Manor, a newly opened guest house in the country. Just before any of the guests arrive, the radio reports that the police are still searching for the killer who recently claimed the life of a local woman.
One by one, the guests arrive, beginning with a young, free spirited man named Christopher Wren (Geoffrey Simon Brown). Mrs. Boyle (Laura Perken) is instantly displeased with Monkswell Manor, and argues she was misled by Mollie and Giles’ advertisement. Major Metcalf (Duval Lang) arrives just behind the unpleasant woman, and fortunately he is far more jovial than her. The last scheduled guest is Miss. Casewell (Genevieve Paré), a well-travelled, yet reserved, woman. Mr. Paravicini (Cam Ashcroft), a strange man whose appearance seems disingenuous, joins the party after his car overturns in a snowdrift.
The guests are trapped indoors by a violent snowstorm, leaving no one able to get in or out. The only person able to reach the manor is Sergeant Trotter (Stafford Perry) who arrives by skis. The policeman is there to protect the guests, he reveals, as police have reason to believe the killer is on his or her way to the manor – if the killer is not already in their midst. When one of the guests is murdered, Sgt. Trotter must find out who among them is the killer and stop them before they strike again. And with no contact with the outside world, there is no time for anyone to withhold any secrets from the investigation.
By now, the whodunnit genre has been well-played, but there is something to appreciate about the classics. And here, we are not involved with just any mystery writer, but the Queen of Crime herself. Christie’s ability to build intrigue is second to none, and her attention to detail is impeccable – the radio report on the mechanics of fear comes to mind. The fun of a good mystery endures in this thrilling play where isolation pulls tension to the surface.
Newby’s lively, but measured, direction makes this production feel like an exciting game of Clue. There is almost a hint of camp, and that is not a stretch by any means. Via Mr. Paravicini, played by a very funny Ashcroft, the play already pokes fun at itself and the logic common in murder-mysteries. Christie had a good sense of humour about her work, and Newby emphasizes that for an audience well-familiar with the tropes Christie helped establish during her career.
If grizzly murder were not afoot, set & lighting designer Narda McCarroll’s gorgeous Monkswell Manor would be the envy of any traveller. The snow falling outside the spacious manor’s large window adds very nicely to the atmosphere. Add in April Viczko’s colorful costume design, and the audience is fully absorbed into the period.
The evening’s tension is heightened by Perry’s furious commitment to apprehending the killer. Perry’s Sgt. Trotter is intent on leaving no stone unturned during the investigation. Unfortunately, the guests are less like stones and more like boulders. Brown’s enigmatic, oddball Wren delights as he makes a joke of the whole thing, making everyone in the manor feel uncomfortable while doing so. Brown gives Dubnyk’s stuffy Giles more than enough reason to dislike him. Cummer’s Mollie tries desperately to keep the house running smoothly, while also trying to keep the peace between the guests. Cummer knows how to make small physical moments sing. Perken’s aristocratic Mrs. Boyle stirs the house like a witch at her cauldron. Paré plays Miss. Casewell with a firmness that stands well against Perken, and that cuts through much of the swirling around by the other guests.
There are some projection issues, as in the audience strains to hear bits of dialogue, but the cast is largely on point delivering the material. The accents could use some differentiation, however, as they all sound just a touch too similar to each other, an odd thing considering the guests come from all over.
The production has a vibrant energy surging through it, from start to finish. And the same energy carries during intermission and after the show where the audience buzzes about all the various clues. There is a seriousness to it all, which Newby is interested in exploring, but the show is mainly a lot of fun thanks to the strengths of its cast.
Ultimately, Vertigo Theatre’s The Mousetrap reminds us why Christie is the master of mystery, and why the company keeps returning to this classic play.
Vertigo Theatre’s The Mousetrap runs Nov 14 – Dec 13.
For more information about the show, including how to purchase tickets, visit: http://www.vertigotheatre.com/the-mousetrap/