For a play that its author, Agatha Christie, thought would run no more than 8 months, The Mousetrap is as famous for the records it has broken along the way as for the skill, eloquence and engagement of its writing. After running for three score years in the West End, it celebrated by touring the provinces for the first time and, as part of a massive current tour, it is finally coming to The Wyvern Theatre for a string of dates. Ahead of its arrival, I spoke to Lewis Collier who is playing Sgt Trotter about why the play has endured.
I was intrigued to know how you approach such an icon of the contemporary British theatre, is there anything new to bring to the play or is it a matter of keeping things true to the writing.
“You approach the play as you would any other but the play has so many layers that everything you need is right there on the page. Every production brings something new, just the change of actors and the way a director operates and sees the work does that anyway but you also have to honour just how good the writing is and what a privilege it is to be given the chance to be involved in the first place.”
It has often been said that The Mousetrap is a play written without a staring role, that it is the personification of an ensemble piece, as many of Christie’s plays were, that it is the author and her writing which take centre stage.
“Yes, I totally agree, it is all about the telling of the story and that is something that you need the whole cast for. There may be some actors who are more integral to that but it really is all about a group effort with everyone being part of a greater sum. “
And to reference the other, earlier Mousetrap, “the play’s the thing” then.
“Yes, absolutely.”
With a show that is over 60 years old, it is obviously picking up new fans through the generations, what do you think is it’s on-going attraction.
“Even though it is set at the time of Second World War, there are a lot of lines and attitudes expressed which are very relevant today. There are lines which seem to echo the sort of things people have been saying following the Brexit decision about the state of the world and some members of the audience think that the script has been brought up to date. It hasn’t, it just shows you how the script reflected the times and sometimes those views stay with each succeeding generations.”
One interesting point about The Mousetrap is that it belongs firmly to the theatre world Christie stated that whilst the production was still running in the West End, no book could be published or film made and so odd for these days of multi-media, multi-platform, milk it for every penny production, it remains a theatre only experience.
And another against the grain feature of the play is that to a large extent, the plot twists, red herrings and final reveal have largely remained unspoken, something that means that many showing’s intervals are full of sleuth-like discussions, debate and even in house competitions to guess whodunit. Compare that with the fact that the plot spoiler of films such as Sixth Sense where public record by the following breakfast and theatre audiences seem much more respectful that their one-upmanship film buff friends.
“There does seem to be a real respect for the play and the plot twists which you probably wouldn’t get in other forms of production.” We both agree that Agatha would certainly approve.
With The Mousetrap chalking up 60 years, I venture the thought that could it run for another 60?
After a slight pause Lewis replies….“I don’t see why not.”
Me neither.
Find out whodunit at The Wyvern Theatre, 19th -24th September
More information HERE
