Review: THE MOUSETRAP, New Alexandra Theatre, 31 October 2016

Agatha Christie's The Mousetrap truly is a theatrical phenomenon. The enduring popularity of this whodunnit is unprecedented; its mixture of drama, horror, comedy and farce appeals to audiences of all generations, despite changing social conditions and artistic trends. Now a tourist attraction in its own right in London's West End, The Mousetrap has been running for over 63 years and poses its audiences a dual mystery: who is the murderer, and what makes this play such a runaway success?

The Mousetrap is a master class in storytelling that will never go out of date. Agatha Christie sets up her classic scenario, as Mr and Mrs Ralston welcome guests into their remote guest house - a gorgeous grand set design, immaculately finished. As news of a horrible murder reaches the party, policeman Sergeant Trotter arrives to tell the party they are in danger and the murderer is within their midst. Christie builds the tension - the radio blasting eerie music, or someone whistling the murderer's signature tune "The Three Blind Mice" - before moments of farce or comedy break the atmosphere and we can briefly relax. This constant rollercoaster ride of growing suspense keeps the audience on the edge of their seats throughout.

The play also uses common gothic tropes to its advantage. The grand parlour room slowly darkens, snow gathers around the window frame, a gloved hand curls surreptitiously around an opening door, and three of the gentleman within the party are all dressed exactly like the description of the murderer. These stereotypical devices cause a thrill of fear and excitement down the spine yet, because the audience are aware of how this fear is being created, The Mousetrap avoids ever being too frightening.

The cast surpass the extraordinary expectation that precedes The Mousetrap wherever it goes. Ian Watt-Smith's direction encourages the pace to mirror the peaks and troughs of Christie's narrative, alternating between rapid-fire, emotionally charged exchanges and extended periods of suspicious silence.

Anna Andresen leads the cast as Mollie Ralston, sweet, hard-working and slightly neurotic. Oliver Gully gives a fantastic performance as Christopher Wren, with his over-exaggerated, plummy tones, childlike energy and twitchy body language. Nick Barclay displays impeccable comic timing as Giles Ralston, and Amy Downham shines as the dry, brusque Miss Casewell. Every single performance is multi-layered, with sharp, unexpected reactions and sly sideways glances; the audience share Sergeant Trotter's growing suspicion that any one of the group could be the murderer.

Rarely have I experienced a play that it is so satisfying on every level. The Mousetrap defies one single genre to become a murder mystery full of comedy, suspense and multiple twists and turns. The audience eagerly trade theories of whodunnit throughout the entire interval, thoroughly committed to this most absorbing piece.

After the curtain call, as tradition dictates, the cast implores us to keep the secrets of The Mousetrap safe, so that future audiences can enjoy the delicious thrills and spills of the classic murder mystery.

The Mousetrap is at the New Alexandra Theatre until Saturday 5 November.

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