Deathtrap

Deathtrap
By Ira Levin. Director: Ian Rigney. Therry Dramatic Society. The Arts Theatre, Adelaide (SA). March 20-29, 2014.

When you put an ingenious text together with a highly regarded theatre company, a proven director, and a cast with top-level experience, you're bound to get something satisfying - and this latest version of Deathtrap certainly is, even if those familiar with the play may feel that a certain sparkle has been lost from the text over time.

A highly intelligent and wickedly self-referential play about the writing of a play called...Deathtrap - conceived before the advent of personal computers and mobile phones - it contains plot twists that no decent person would dare spoil for the uninitiated, as well as references and narrative/stylistic devices that tend to date it slightly. Because the element of surprise plays a large part in the fun and excitement, newcomers will probably enjoy Therry's production more than will the repeat viewer (of which this critic is one).

Matthew Randell, playing central character Sidney Bruhl - on stage virtually from start to finish - is an actor with a great amount of natural confidence; he commands the stage without straining for effect, and captures the veteran playwright's complexity with admirable accomplishment and skill. Randell does tend to underplay the murderous, devilish aspects of the character, but he generally achieves a good balance.

James Edwards offers an engaging characterisation in the role of Clifford Anderson, talented novice writer and potential protégé of Sidney. The two men make an intriguingly contrasting - yet complementary - double-act in scenes where they (and the text) must manage virtually all the heavy lifting. Randell and Edwards are portraying people who give a secret performance of their own to those around them – including each other - which adds another layer of intrigue to the proceedings.

Sue Wylie, as Sidney's wife Myra, does a solid job in what is probably the least showy of the five roles. Tim Taylor's relatively brief appearances, as Porter Milgrim, are a happy reminder of this actor's comic talent, though he should watch that his volume level does not dip too low.

Virtually stealing the show is the inimitable Lindy LeCornu in the perfectly plum role of psychic Helga ten Dorp. Relishing the chance to sink her teeth into a flamboyant (and strongly-accented) character, decked out with an hilarious hair-and-make-up job, yet never quite going too far for comfort, LeCornu's performance is almost enough on its own to make this Deathtrap into a must-see.

'Comic thriller' is a tricky combination to get absolutely right, and while this production seems to make all the right moves, the level of electricity that charges through the play's high points tends to get turned down in between them. Somehow, the hoped-for element of true menace, of potential betrayal, of double-cross hanging in the air, felt muted, if not missing altogether in places.

The nature of certain technical aspects may have contributed to this feeling. The set is festooned with all the props and icons that this play needs, but the colour scheme felt uninspired and a touch distracting. At crucial points, the lighting and sound design has to really rise to the occasion in order to create the appropriate atmosphere, but the effects were more functional than brilliant.

Despite these few misgivings, it cannot be denied that Therry have served up a sturdy entertainment package with Deathtrap. It's a safe bet to succeed for those who like their thrills mixed with chuckles and topped off with shocking surprises.

Anthony Vawser

Subscribe to our E-Newsletter, buy our latest print edition or find a Performing Arts book at Book Nook.