The Mousetrap

It’s the 1930s, and Giles and Mollie Ralston are buzzing excitedly around their newly opened Katoomba boarding house, apparently not at all perturbed by the news of close-by murder. Strange, secretive guests appear and are trapped by blizzard and snow, and events soon turn sinister. As you would expect...

This is a production for fans of Agatha Christie, who will recognise all her hallmarks (except perhaps the ‘victim falls on watch, breaking it, establishing time of death’ ruse). People expecting logic, depth or anything vaguely like a modern police procedural will be disappointed, but that’s really not what Christie was about. What Dame Agatha did well was pacing, structure, tension and puzzle.

There is always the question of how to handle Christie in the modern setting, given her quaintness and naivety. Canberra Rep’s production of And Then There Were None, directed by Duncan Ley, for instance chose open parody. Best’s production is faithful to Christie’s intent, bringing out moments of genuine naturalistic tension and some delightful acting, particularly the affection and interplay between Tim Sekuless and  Kiki Skountzos as the newlywed hosts. The hardest character to manage is Mr Paravicini – a weird “foreigner” wearing makeup to make himself look older – because he’s a caricature bordering on racist. Jim Adamik brings him a tension, varying between comedic and creepy which is satisfyingly unnerving

Back in deco-era Australia, it was fashionable for well-to-do Sydneysiders to holiday in the Blue Mountains to partake in all that wholesome walking and fresh air, so this setting does make sense, despite the dialogue and setting being a little out of place. Cate Clelland’s set was particularly well done, with period wood work over the arches, and a snow projection outside a frosted window. Although I’ve come to recognise her formulae and faults, I grew up on Christie and hold her dear. Fans of the Dame will love this.

Cathy Bannister