[Editor’s note: This article was originally written in May of 2025, while this show was running. Unfortunately, I misplaced it. So it is running now, albeit more than a little late. My apologies to Steve. Larry]

By Steven LaVigne

In 1952, Elizabeth II ascended the throne and until her 2023 passing, was the longest reigning monarch in British history. The same year of her coronation, another long reign began. Agatha Christie’s mystery, The Mousetrap opened in the West End. It played for 22 years at the Ambassador Theater in St. Martin’s Lane when it moved across the street to the St. Martin’s Theater where it recently passed 30,000 performances. The carpet used on set is frequently replaced for wear, and until recently, tickets had to be purchased from one of the ticket brokers in Leicester Square or at the box office. It’s sometimes now available on TKTS London.

Because the Guthrie recently produced Murder on the Orient Express and Dial M For Murder, mysteries have been added to their repertoire, and their production of The Mousetrap has been extended for two more weeks! Anthony Schaffer’s two-hander thriller, Sleuth is on the bill for next season as well.

Perhaps I’m spoiled because I once designed a set for this play and have since seen it twice at the St. Martin’s Theater, but I was underwhelmed by Tracy Brigden’s production. You walk into the McGuire and are immediately impressed with Walt Spangler’s dark blue set. Two beautiful chandeliers hang above and the room looks comfortable.

The plot revolves around Molly (Monette Magrath) and Giles (Peter Christian Hansen) Ralston, who’ve opened Monkswell Manor in the Berkshires as a guest house. Unbeknownst to them, the guests all have a past, and one of them plans to use this gathering for revenge.

Under Brigden’s direction, the production is less mystery and more of a comedy, because there are some questionable directing choices at work here. For one thing, when the guests arrive, they stand at the top of the entrance stairs and pose as the lights sparkle and there’s tingling music to accompany them.

Why?

Furthermore, either the cast or Brigden has decided that half of the cast should play their characters as stereotypes rather than find their humanity. Christopher Wren (Greg Cullar) has gay tendencies, which have become more blatant over time (when the play opened, being openly gay was a crime), so the stereotype gets in the way of Cullar’s playing such a vibrant character. Matthew Saldivar’s Italian, Mr. Paravicini is also played as a stereotype.

Maybe The Mousetrap needs some tweaking here and there to change the dynamic of the characters. It wouldn’t hurt the story at all.

On the other hand, Mrs. Boyle (Mo Perry), costumed to resemble the author, understands her role and the single-minded attitude that drives the plot. Matthew Amendt’s Detective Sergeant Trotter and Pearce Bunting’s Major Metcalf are a pleasure to watch when they’re onstage. Emjoy Gavino gives Miss Casewell an obvious lesbian vibe, but she’s wise enough not to focus on it, so her performance is sharp and exciting.  Molly and Giles have to deal with so many emotions and situations within the story, and both Magrath and Hansen are up to the task.

One thing about thrillers is that the pacing is key. Brigden’s direction should be much tighter and the pace should be better.

There are few minor quibbles regarding Susan Tsu’s costumes, specifically one outfit worn by Miss Casewell. The play is set during a blizzard. No woman in the 1950s would have worn leather trousers in the winter! They may be stylish, but England is damp and cold. Wool would be the order of the day.

As just stated, the play takes place during a blizzard, but the way the snow falls outside the window, you wouldn’t know it. One of Christie’s trademarks is placing her characters in isolation. The location has been cut off from communications which adds to the tension.

I never felt any tension in this production.

I was disappointed with this production, just as I was disappointed with Noises Off!, An Enemy of the People and the most recent Romeo and Juliet at the Guthrie. They’re increasingly resembling community theaters and the professional standards they once had are lacking.

With this version of The Mousetrap, I don’t think Agatha Christie would approve.