The Mousetrap by Agatha Christie presented by Queanbeyan City
Council. Directed by Jordan Best at Queanbeyan Performing Arts Centre,
March 7-24, 2012.
Reviewed by Frank McKone
March 7
This
is a misconceived production of a play which, despite its 60 years of
continuous performance in London, is essentially a farce. It certainly
got some laughs on opening night, despite the director’s apparent
intention from her Director’s Notes that we should have been scared and
spooked by ‘a cracker of a mystery’.
Christie’s crime
fiction consists of nothing but artifice – an artificial plot on which
is hung artificial characters with motivations which have nothing to do
with psychological truth. Her stories are interesting as games, working
out possible directions to take in a maze which has already been
predetermined by the designer. The more unexpected twists and turns in
the design, the more fun it is to play the game. But that’s all there
is to it.
Best, unfortunately, despite her professional
training and previous excellent productions, has missed the point here.
Naturalistic playing of these characters is boring because it is the
wrong style for this type of play. The cast worked hard, but only Jim
Adamik’s over-the-top Mr Paravicini and to some extent Brendan Kelly’s
Christopher Wren had the exaggerated characteristics a farce requires.
The
director’s decision to place the play in Australia (with such a
blizzard in, presumably, Katoomba, that would cheer the cockles of a
climate skeptic’s heart) compounded her problem. This play is
quintessentially English, filled with stock characters, stock references
to the weather and places like Majorca, and entirely in the style of
English farces of its day, the 1950s before rock’n’roll, such as those
by William Douglas Home who, like Agatha Christie, looked back with some
kind of sentimental awe to the hey-day of English culture – the 1930s.
Australia was never like this.
Mind you, it is true that my first acting role, in Australia in 1963, was as an upper-class twit in Home’s 1956 play The Reluctant Debutante. No-one, but no-one, would bother to present that even in a country town today, and presenting The Mousetrap
could only work if it was made thoroughly absurdist – a spoof of the
very crime fiction it represents. When you consider what we watch on tv
nowadays – Silent Witness for example – the idea that we might be scared or spooked by the ‘horrors’ of The Mousetrap is the ultimate absurdity.
I
would like to praise the set design (the indomitable Brian Sudding) and
construction (Craig Francis and Ian Croker), except for one point – the
door that should have creaked, didn’t. There was also a sound problem –
almost inherent in the script – when the loud radio drowned out the
characters’ voices. We needed to hear what they said because there were
clues to the plot in their words.
So The Mousetrap
is a disappointment, which is a pity because The Q has presented so
much better local productions in recent times, and I hope will do so in
the future.
© Frank McKone, Canberra
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