The Mousetrap

By Mark Kearney

Agatha Christie’s The Mousetrap has been treading the boards since Queen Elizabeth II first positioned her posterior on the royal throne.

Yes, 2012 marks the Diamond Jubilee for both these British icons.

“What’s so remarkable about this murder mystery play that continues to draw a crowd even after it’s played to over 24,000 audiences?” I hear you ask.

Having viewed this new Australian production last night, I can honestly say I haven’t the slightest idea.

Don’t get me wrong; what ensues is entertaining enough. Two newlyweds take over the running of Monkswell Manor, a grand guesthouse 30 miles outside of London, captured beautifully by set designer Linda Bewick.

There they are joined by an eccentric collection of lodgers, all of whom soon become suspects in the investigation of two seemingly connected murders, one of which happens in the very common room where we lay our scene.

The cast, upon whom the honour of performing this history-making play is surely not lost, deliver consistently strong and engaging performances.

The Mousetrap

Christy Sullivan’s Mollie is a lovely anchor for the production, with the majority of action taking place around her half of innkeeper couple, the Ralstons. Detective Sergeant Trotter, played here by Justin Smith is another spritely presence, making light work of a demanding role once he enters someway into Act One.

Last mention is reserved for the enthusiastic performance of Travis Cotton as Christopher Wren (not that architect, but an architect all the same who has named himself after the great London visionary.) He is a joyous addition to the cast.

Overall, the action is lively and inoffensive, but altogether uninspiring.

This isn’t a new perspective, apparently. In fact, a review in UK newspaper The Guardian on November 24, 1952 tepidly referred to Christie’s play as “a middling piece.”

Where lies the source of its longevity, then?

Perhaps the magic ingredient is its audience’s ability to keep quiet about the identity of the murderer (or murderers?) so long after the show’s debut. During curtain calls, a cast member traditionally implores the audience to “keep the secret of The Mousetrap,” though by all accounts the original London production has dissolved into a pantomime affair, where audience members shout out things like, “He’s behind you!”

Like the Queen, The Mousetrap is a little out of touch after 60 years, but much like Lizzy, Agatha Christie’s whodunit provides a pleasant dose of nostalgia that doesn’t look like kicking the bucket anytime soon.  

The Mousetrap runs at Melbourne’s Comedy Theatre until Friday before touring Adelaide and Wellington.