Theatre Review: Agatha Christie's The Mousetrap

Agatha Christie’s The Mousetrap celebrates its 70-year anniversary at the Wolverhampton Grand Theatre. This classic murder mystery receives a brilliant performance from the cast, who bring each character to life with exceptional skill and energy. There is no doubt as to why this is the longest-running play in the world: its gripping and humorous plot has a timeless spark.

After a murder has taken place in London, information on the suspect quickly spreads through the media. Mollie Ralston (Hollie Sullivan) and Giles Ralston (Barnaby Jago) have just opened Monkswell Manor as a guesthouse, and are hosting several peculiar guests. In the midst of a snowstorm, a detective sergeant (Michael Ayiotis) arrives to investigate the recent murder. With each character now a suspect, it is up to the audience to decide who is disguising their murderous identity.

Dynamic movement on stage matches the rapidity entailed by the investigation

Enhancing the play’s realistic, foreboding atmosphere is the remarkably detailed stagecraft. The set design is well-crafted, creating a striking and immersive environment. The presence of several entrances and exits opens up the space, while also tactically limiting knowledge of the activities occurring in other rooms.

The fast pacing is appropriate for this whodunnit narrative, as the pressing demands of a murder require quick, immediate action. Dynamic movement on stage matches the rapidity entailed by the investigation, effectively capturing and maintaining audience attention throughout the play. My only criticism is that the brief moments of stillness could have been extended to amplify the sound of silence, allowing the audience to absorb the significance of what has been said and, equally, what is left unsaid.

Props and sound effects are aptly employed throughout the performance. My personal favourite is the repeated use of an ominous tune; contributing to the disquieting atmosphere, it becomes the melody of mystery. Warm lighting appropriately sets the stage for the stormy, snowy evening, while increased, cooler lighting for the subsequent daytime scenes support the cold intensity pervading the guesthouse. Paramount to the production’s success, these technical aspects lay the foundation for the cast to adeptly showcase their acting abilities.

The repeated use of an ominous tune […] becomes the melody of mystery

Dynamic and animated interactions between characters underpin the liveliness of the production. Each member of cast is thoroughly convincing in portraying their character. Supported by costume design faithful to the original script, every character appears as initially intended. For instance, Major Metcalf (Todd Carty) wears a soft-toned suit, aligning with his gentle demeanour and adaptable personality. Miss Casewell (Amy Spinks) is dressed in masculine clothing, matching her independence and confidence as an unconventional female character.

Maintaining excellent frontage and strong vocal projection throughout the performance, cast members ensure clear communication and engagement with the audience. One actor merits particular recognition: Shaun McCourt, playing Christopher Wren, delivers a commendable performance. Playing a peculiar, irritating, and enthusiastic young man, McCourt magnificently enlivens these character traits through shifts in vocalisations, agility on stage, and animated facial expressions. These elements bring moments of welcome comic relief to the play, easing the tension entailed by the murder investigation. How the cast highlights the main themes throughout this investigation brings me to my final point.

One actor merits particular recognition: Shaun McCourt, playing Christopher Wren

Deriving its title from Shakespeare’s Hamlet, The Mousetrap includes a play-within-a-play. Accentuating the play’s themes of honesty, deceit, and responsibility, this double performance casts doubt on the statements of each character and illuminates the clever ways in which one can conceal their true identity. As the Ralstons gather minimal information about their guests, becoming entangled in a murder investigation together amplifies how little each person knows about each other. The room full of strangers creates a breeding ground for hostility and distrust, an unfortunate combination for those caught up in an intricate game of cat and mouse.

By the end of the production, I found myself left with a few questions to contemplate. How can we know who to trust? What distinguishes honesty from deceit? Can we avoid becoming the victim of a ‘mousetrap?’ Exploring the distinction between truth and falsehood, The Mousetrap prompts its audience to dig beneath the surface to uncover the true identities that façades seek to conceal. A captivating and persuasive narrative brought to life by a talented cast, this is a production well worth seeing.

(The Mousetrap plays at the Wolverhampton Grand Theatre until the 29th of June.)