The
Mousetrap has never been made into a movie; consequently, even
after half a century, it still makes sense to ask the audience not to
reveal that the murderer is... ah, ha, ha. Ira Levin’s
Deathtrap, however, was filmed four
years after its 1978 première, so the corresponding request on
this revival looks like mere posturing. Likewise the announcement that
the producers have engaged extra St John’s Ambulance staff in case the
shocks of the thriller prove too great for members of the audience.
(Delaying the press-night start for 20 minutes for arrival of said
staff was, however, just plain infuriating.)
If these touches suggest more of a pastiche than the real thing, so
does Matthew Warchus’s staging. Perhaps that’s what makes it a “comedy
thriller”. Simon Russell Beale enjoys himself as yesterday’s-man
playwright Sidney Bruhl, with his patented delivery of Eeyoring out
punchlines in such a low key that they just drop over the net. (That’s
the kind of immensely mixed metaphor that would benefit from a deadpan
SRB delivery.) As the tyro who looks set to eclipse Sidney, Jonathan
Groff of TV’s
Glee makes an
assured West End début. Each man finds the requisite handful of
moments of plausible seriousness in his role to ground the hokey
remainder. And you can’t get much hokier than the venerable Estelle
Parsons’ accent as Dutch psychic Helga ten Dorp, who keeps popping over
from her neighbouring cottage to warn Sidney and his wife Myra (Claire
Skinner) of impending misfortune.
Warchus’s direction is good on the shock moments (suddener and more
genuine than, say, those on
Ghost
Stories playing just down the street) and on Sidney and young
Clifford’s discussions about the structure of a play called
Deathtrap which is in effect the
drama we are watching: these remain clever rather than straying into
“clever-clever”, either too earnest or too smug. But Warchus (whose
career path seems to be working its way through the entirety of drama,
genre by genre) goes too far with incidental music, however discreet
Gary Yershon’s score may be, and loses all proportion with a
final-scene exchange involving not just music but reverberation on the
live dialogue and flashback replays of earlier lines. Still, the
production pretends to be no more than it is, which is indubitably
entertaining. Seldom if ever has the phrase “superior hokum” been so
merited.
Written for the Financial
Times.