“It’s been resurrected,” says a proud Mark Sutherland, as we float in the excitement of intermission “whodunit?” buzz. Sutherland is referring to the St. Michael’s College production of The Mousetrap, which he produced and directed alongside Laura Cockburn. As Agatha Christie’s dramatic masterpiece is the world’s longest running play of the 20th century, Sutherland and Cockburn had the challenge of upholding a standard set by world-class stage productions.
The plotline of The Mousetrap is not particularly creatively demanding, as it follows the classic Agatha Christie mystery formula. Quirky strangers are trapped in an inn by a snowstorm, as radio news of a mystery murder foreshadows death among them. A peppy detective fuels their anxiety through her probings.
For all its narrative predictability, however, the sounds, setting and characters of The Mousetrap all present creative challenges. The Mousetrap was originally written as a radio play at the request of Queen Mary to mark her 80th birthday. The lack of authorial direction in terms of the production’s visual elements, therefore, presents itself as territory to be freely roamed by the imaginations of producers and actors.
Indeed, this production of The Mousetrap is clearly the result of a broad creative collaboration. To my surprise, the crackling BBC broadcast that delivers the news of the murder is, in fact, a local St. Mike’s basement production.
“Coincidentally, this year there were a couple of British guys living at St. Mike’s, so we got them to do our BBC voice-overs,” says an amused Sutherland. Less coincidental is sound technician Jonathan Swift’s participation, as his splices of ’50s jazz and cacophonous classics carefully cater to the play’s tones and moods.
In line with the demands of a mystery plotline, the setting is detail-conscious. The audience finds themselves sitting in Monkswell Manor’s fireplace, thus being granted a private view of the events unfolding in the living room. Authentic 1950s fashion magazines drape the coffee table; the BBC broadcast is transmitted from what looks like a decades-old dusty radio. The living room walls come complete with light switches, and the coat hanger boasts a variety of 1950’s hats.
Despite their contrived, incessant smoking habits, the characters of The Mousetrap are wholly entertaining as their personal quirks take turns gracing the faded armchairs of the manor. Particularly amusing is Christopher Wren (J.P. Antonacci), whose ankle-length tweed pants and disheveled hair seem a natural complement to his comic anxieties. Gracefully weaving in and out of the production’s three acts, Antonacci’s hysterical performance often rescues weaker dramatic moments.
Molly Ralston (Kate Rodgers), who appears to be the psychological centre of the play, is alarmingly convincing in her struggle with the temptations of youth and spousal loyalty. Her rapport with Giles Ralston (Dean Vandelinde) encompasses all the jealousies, irritations, and effusive make-ups of post-war impulsive marriage.
Detective Trotter, played by a male actor in the original script, is taken on by Carolyn Harris in this production, transforming the traditional role. With her sharp outfit and wit, Detective Trotter brings refreshing sexual tension to the set, ultimately adding a 21st-century feminist element to a play that is grounded in a predominantly male post-war world.
