On Monday, we were invited to The Lowry, Salford to see one of the most famous plays in the history of theatre. Read what our reviewer Karen Ryder had to say about The Mousetrap...

The world’s longest running play, The Mousetrap by Agatha Christie, has sleuthed its way into Salford for its 70^th anniversary tour.  It not only holds the Guiness World Record for the longest running play, but Agatha Christie is also the world’s bestselling author!  Quite the spectacular combination and a powerful aphrodisiac that ensures audiences both new and old are still falling in love with its secrets, mystery, and intrigue.  Over 70 venues are being gifted a visit from this iconic play on its celebratory tour, symbolically including all cities to which it originally played!  The Mousetrap still plays in the West End today, with record breaking performances, selling over 10 million tickets!  

So why is it so popular?  What is its secret?  Well, the fact that the show itself holds a secret, a secret which the audience are welcomed into via the exclusive Mousetrap club and asked to keep, is an undeniably clever twist, and one that many other shows are starting to catch on to.  It gives its audience a sense of belonging, and a delightful kick at knowing something other people don’t know.  As Monkswell Manor is grandly revealed, news spreads of a murder in London.  One by one, guests arrive at this remote countryside estate looking for shelter from the raging storm.  Guarded pleasantries drift through the firelit guesthouse, keeping an uneasy peace, that is until a police sergeant arrives and shatters all illusions.  For there is a killer amongst them.  But who could it be?  What motive could they possibly have?  And how many are they prepared to kill?  Everyone is a suspect, and with good reason, for as we start to learn the truth about each of the guests, it seems everyone has something to hide.
 

Therein lies the hook of this play.  Whodunnit?  Was it Giles or Mollie Ralston, a seemingly honest couple who inherited Monkswell Manor?  Yet they are evidently hiding something, immediately arousing suspicion.  Or was it Christopher Wren, an enthusiastic and energetic architect who enjoys the beauty of the house and whistling nursery rhymes?  How about the irritable, uncompromising Mrs. Boyle who takes no prisoners with her strong opinions, or retired Major Metcalf who has an affinity for detail, helping others, and optimism?  Maybe it was the dry, aloof business woman Miss Casewell whose sharp and direct manner takes many by surprise.  Could it even be Mr. Paravicini, the unexpected guest whose humour seems so close to the bone that anything is possible?  As police sergeant Trotter arrives on snow ski’s to investigate the murder, the house is full.  But how long will it stay that way?  Is anybody really safe from the storm at Monkswell Manor?

The Mousetrap is played out in one room, adding an air of murderous mystery.  It arouses suspicions each time a character exits, begging the questions, what they are doing?  Where they have gone?  What are they are talking about?  And will they ever return alive?!  Keeping in with the original 1950’s time frame of the play, this striking set places us in the drawing room of Monkswell Manor.  Imposing wooden panelling adorns every surface, including a large ornate fireplace.  Pictures are scattered across the walls and furniture, with dim lights suppressing the atmosphere further.  A writing desk complete with a wireless and telephone play their part, and the remaining furniture is situated throughout and used to great effect.  The biggest success of the set is the inclusion of six slick and often surprising entrance and exit points.  These drive the story, the intrigue, and the thrill.  Ian Talbot and Denise Silvey’s direction creates the perfect misdirection, with actors swifty manoeuvring between these entrances and exits in the blink of an eye, ensuring that perhaps our attention is not always focused on the right character at the right time.  It is so clever, and leaves you in a heightened state of “What on earth is going on?”  Add into this a lighting design that manages to control your emotional state by the gradual dimming and flickering of lights into cold, hard blackouts.

Holly Sullivan (Barefoot In The Park, Private Lives) understudied for Neerja Naik as Mollie Ralston and created a multi layered character, who was warm and nurturing.  Her relationships with the various characters each had their unique stance from frustrated to maternal.  She gave a strong and believable transformation from a gentle newly wed to someone capable of asserting strength and determination.  Barnaby Jago (The Beast Of Blue Yonder) as Giles Ralston was fantastic as the stereotypical 1950’s middle class husband.  He was proud of himself and his own importance, yet still gave us a genuine likeability and reason to root for him.  It was a beautifully balanced performance.  Shaun McCourt (The Lion, The Witch & The Wardrobe, War Horse) as Christopher Wren was a joy to watch with his physical humour, exquisitely readable facial expressions, and infectious energy.  He really allowed the audience to laugh at his over enthusiastic caddish approach, and his likeability was palpable.  He also showed a delicacy to his character via his relationship with Mollie.  A glorious labrador puppy fuelled by Duracell batteries! 

Gwyneth Strong (Ladies Of Letters, Only Fools & Horses, Eastenders) as Mrs. Boyle had perfectly pitched sarcasm, disapproval and deplorable detest of everything and everyone.  Her voice was dripping with the most gloriously pompous tonality.  It was wonderful to watch and even though you dislike Mrs. Boyle’s unrelenting standards, you kind of can’t help loving her directness too.  Todd Carty (Eastenders, The Bill, Spamalot) as Major Metcalf had the most brilliant character voice that brought the Major to life in an instant.  His bumbling presence, throaty laugh, and his characters intricacies were a true delight to watch and made him an audience favourite every time he came on stage.  He was able to continually surprise and keep you on your toes with a tremendous performance.  Amy Spinks (Shakespeare Nation, Bab’s Big Show) as Miss Casewell portrayed this private, brisk and stand-offish character with ease.  An inner confidence poured out of her, making us believe that Miss Casewell was carrying an intriguing secret.  She oozed a certain kind of charisma and I enjoyed her scenes very much.  Steven Elliot (Frankenstein, The Crown, numerous RSC) as Mr. Paravicini was a joy to behold.  His outlandishness and unpredictability are a force to be reckoned with, and allowed him to hold the audience in the palm of his charming hand.  Whether it be his corrupt sense of humour, a brilliantly timed one liner, a wink and a nudge to the audience, or his physicality, it was a treat every time he was on stage.  Elliot knows how to milk the most out of each word, each phrase, each look, and he draws the audience into his fun world time and time again with energetic ease.  Michael Ayiotis (Teechers, The Mountain & Me) as Detective Sgt. Trotter had a fantastic authoritative presence with his stature, vocal delivery, and presence.  He made you want to give him the information he demanded – even if you didn’t know it yourself!  He was commanding, clear and concise and drove the narrative perfectly.

The first half of the show flew by and we were surprised to find ourselves stumbling into the interval, for it really does draw you in.  There is a twee nostalgia to the play, for it has kept its roots in its time frame.  The Mousetrap is positively aware of this and allows us to giggle at some things that seem absurd in todays world.  In that sense, it doesn’t take itself too seriously, and enjoys the flexibility the different array of characters brings.  Speaking of which, this is the riding force of the show for me.  The cast have excelled in producing such varying and unique characters, each with their own life force.  The first half of the second act drives along in a similar vein, keeping us hooked into the plot as we try to figure it all out.  The remainder of the show in comparison felt a little jarred, like it was in a rush to finish, or it had run out of time.  I can’t really say too much without risking slipping up and giving secrets away, but I kind of wanted more.  Maybe that’s a good thing – always leave them wanting more right?  That aside, this is no doubt the mothership of all whodunnits and I could absolutely see how many other shows have tried to replicate its formula.  I am thrilled to have finally seen this trend setting show and promise to uphold its secrets.  Here’s to the next 70 years.  Happy Anniversary to The Mousetrap.

WE SCORE THE MOUSETRAP...

The Mousetrap is on at The Lowry, Salford until Saturday 13th April 2024.

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