The Mousetrap

‘The Mousetrap’ was written in 1947 by Agatha Christie, as a short radio play in honour of Queen Mary’s 80^th birthday. Its original title was ‘Three Blind Mice’, however, another play written ten years earlier by Emile Littler had the same name, and he insisted on Christie changing hers. Anthony Hicks, the second husband of her daughter Rosalind, suggested the title, ‘The Mousetrap’. In ‘Hamlet’, when Claudius asked the name of the work just played to the Court, the answer given was ‘the mousetrap’.

The original short story was expanded, rewritten and this notorious murder-mystery premiered in the West End on 25^th November 1952. It has been running non-stop ever since. Clocking up some 25,000 performances, the play is showing at St. Martins Theatre. The rights allowing it to be performed elsewhere have only recently become available for a limited time.

In her autobiography, Agatha admits she guessed at a run of ‘Eight months perhaps’. When it broke the longest run record of a West End play, she received the good-natured comment from Noel Coward ‘Much as it pains me, I really must congratulate you’, this telegram was found recently by a furniture maker whilst renovating a bureau from the Christie estate.

The first production in WA is now playing at the Melville Theatre, situated at the corner of Stock Road and Canning Highway, Palmyra. The weekend, two and a half hour performances start at 8.00 pm until 26^th November with two Sunday matinees on 6^th and 13^th of November at 2.00 pm.

        To the tune of ‘Three Blind Mice’ the curtain rises. The scene is a comfortable lounge room in Monkswell Manor, a small private hotel situated in the countryside 30 miles out of London. The snow is starting to drift. The hotel proprietor, Mollie Ralston (Naomi Klemens) enters, places something in the bureau drawer, switches on the wireless and stokes the fire. A radio news reporter announces, that very afternoon, a woman had been found murdered in Central London and a desperate murderer is on the run.

        Minutes later, her husband, Giles (Troy Lyon) comes in from the cold, shakes the snow from his coat and with some excitement, prepares to receive their first ever paying guests.

        The door bell rings and Mollie answers, only to be practically bowled over by a dapper young man as he sweeps into the house with his tweed coat draped over his shoulders. This rather camp fellow is Christopher Wren (Zane Alexander) an architectural student. He is closely followed by a miserable, whinging schoolmarm, Mrs Boyle (Francesca Meehan) who expects total luxury and perfect service at a minimal cost. Already Giles and Mollie are starting to wonder whether they had made a mistake with their new venture. In the same taxi was a large framed man, Major Metcalf (Craig Menner), a very quiet man who seems happy just to puff on his pipe.

         The telephone rings, it is the local police station advising the Ralstons that a letter was found near the murdered girl in London, which has links to their hotel and that they are sending a police officer over to give them protection.

        The fourth guest, who had booked in, arrives with minimal luggage and even less in conversation. She is a smart, butch but enigmatic woman, Miss Casewell (Sinéad Bevan).

        The final arrival has not booked in advance. A middle-aged foreigner, Mr Paravicini (John Forde) staggers into the guesthouse to take refuge from the inclement weather. His car had overturned in a snowdrift. But this man, who strangely wears a touch of makeup, constantly sings a well-known nursery rhyme.

      The owners, Giles and Mollie, are worried in case the policeman cannot get through, after all, what if the murderer is already in the house! Luckily a skier arrives at their door; it is Sergeant Trotter (Ian Greenwell). It is not long before he starts his interrogations, but that night someone dies in their midst. No one could have arrived nor have left due to the huge drifts. Will the killer be caught before yet another horrific death?

This is the play many have been waiting for, and this version is particularly well cast, smoothly directed and excitingly acted. Yes, there were the odd very minor fluffs or tongue-tied moments, but with an absolutely packed house, where, as in all thrillers the audience are watching every move for clues, plus it being a First Night, the strain on the cast must have been high.

As the red herrings come and go, the trail of clues expanded and contracted, but the actors stuck strictly to their rich characters, never hinting who could be the culprit. So often in who-dun-its, almost in fear of the audience not getting the subtle hints, an actor will feel obliged by body language or expression to give a suggestion of their own. Director Felicity May had everyone well rehearsed and fully in tune with their personality. Very good rapport between the whole cast, the flow and pace were perfect. There were a few plum English accents which raised a smile.

An excellent set design (Ian Greenwell) and construction, with the ideal props and fittings. The costumes (Michelle Sharp) were ideal, both in colour, design and style. The lighting console gave a small problem, but bio box operators, Ian Black and his assistant Damon Mortley, coped well with the many lighting cues.

Barbara Lovell’s stage management was involved but slick.

Thankfully there was plenty of movement around the stage, with seven of a cast, all of whom are on the stage for most of the play, it would be very easy to have the ‘seven pillars of wisdom’ statically talking. There were a few laughs and surprises.

By the interval I was sure I knew the murderer, but one minute into Act 2 found me repeatedly changing my mind.

The play has a wonderful tradition where the identity of the killer is kept a secret, known only to those who have seen the play. Melville Theatre asks their patrons to join in and help keep this 60-year-old secret. Remember, once you've seen the show, you're not allowed to tell anyone who-dun-it!

By the way, the murderer is obviously @5$#9&0^ …………. Sorry, but something has gone wrong with the keyboard.

A professional version of a Christie classic. Practically sold out already, so get in soon. Many congratulations.