It isn’t possible anymore to watch a performance of The Mousetrap and not wonder, not scrutinise and dissect and try to understand why this, of all others, became Agatha Christie’s most popular and loved work. Watching veteran actors and directors Aamir Raza Husain and Virat Husain’s production of the play, you do understand that while The Mousetrap is certainly not Christie’s finest, it is one of her most charming plays, packed with everything that made the Dame’s work appeal to her readers. It has her signature all over the setting, the characters, the plot and of course, the conclusion. This particular production, presented by Aircel, retains the quality and charm the play exerts, and while small, niggling little details keep the performance from excelling, it does thoroughly entertain.
The plot of the play is typical Christie, thriving in its cosy setting — a guesthouse run by a couple, suspiciously strange, quirky guests, heavy snowfall that ensures the guest house is cut off from the rest of the world, and a couple of murders to solve; a most deliciously intriguing affair. The Husains keep their production faithful to both the script and mood. The set is beautifully constructed, and the lighting just right. The accents of the characters keep as close to the old fashioned English one as possible, and several different devices — the radio, the music, the clothes — underline that the aim is to produce an authentically British play.
It is here that the play fumbles. While it is a largely successful endeavour, sometimes the cast drops the ball. The accents slip or a cue is missed and a small crack appears. It would perhaps have passed unnoticed, but the play is otherwise so firmly English, so rooted in its idea of an old fashioned British play, that even the tiniest departure from its path shows. This is perhaps also the reason why the costumes bear so heavily upon the play, and while they should have been yet another device to recreate a 1950s England, they don’t quite fit as well as they could have, reminiscent instead of a contemporary but anglicised modern Indian family.
A few characters shine. Mollie, portrayed by Virat, and Paravicini, played by Aamir, are both infused with just the right combination of charm and menace. They do that one thing which all murder mysteries demand from their characters — they keep you guessing. Damandeep Sidhu’s Giles is a satisfyingly complex character too, though at certain places, it’s difficult to understand his motives and actions, Sidhu not quite successful in translating them on stage. Neel Chatterjee, who plays the hyperactive, disturbed Christopher Wren is believable, his mannerisms both authentic and consistent with his words. Deepak Mukherjee plays Detective Sergeant Trotter and delivers an uneven performance, sometimes fine, sometimes affected and overdone.
Even though it stops short of excellent, this production of “The Mousetrap” is charming, and just in case you happen to be unfamiliar with the plot, it keeps you on the edge of your seat. It’s been edited well, and while the role of Major Metcalf has been scrapped, it’s been done quite seamlessly, leaving behind no gap or blemish. Christie’s murder mysteries weren’t grim and sombre, and the humour she liberally peppered her work with is translated well on stage.
