The mousetrap is an exceptional theatrical phenomenon, it hasn’t left the London stage since its premiere in 1952, so in November the reverently maintained production will celebrate its 70th birthday, obviously with the necessary cast change.
It has become a London landmark just like Big Ben or Tower Bridge.
The general popularity of crime novels is perhaps only comparable to solving crossword puzzles, and television series, including the ever-repeated Hercule Poirot, reap great benefits. However, in the case of Agatha Christie’s plays today, it’s more of an adrenaline-pumping hunt for a killer, it’s a fun genre film with well-written acting opportunities.
However, that’s not so much for Mousetrap, who doesn’t deny his radio origins and not all characters are effective enough on stage.
It is therefore more likely that Vinohrad’s production is betting on a show set in a realistic decoration that gives pleasure by looking at solid furniture and no less solid acting.
Of them, the first half is sovereignly ruled by Queen Rázlová as Mrs. Boylová, a wonderfully constructed character of an insufferable and charming woman with an ironic perspective. The eccentricity of their characters is also appreciated by Petr Matyáš Cibulka as the neurotic Christopher Wren and Otakar Brousek Jr. as the eccentric Paravicini.
However, in the second half, the production loses noticeably momentum and drags itself a bit boringly towards a predictable epilogue. However, the tumultuous reception of Saturday’s premiere confirms that the Vinohrady scene has won the audience title and that this “spectator trap” still works.
| Agatha Christie: The mousetrap |
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| Translation by Pavel Dominik, directed by Jan Burian, setting by Martin Černý, costumes by Barbora Maleninská, music by Ondřej Brousek. Premiere on October 15 at the Vinohrady Theater in Prague. |
| Rating: 70% |
