Review: Deathtrap At The Noel Coward Theatre
Published on Thursday 9th September, 9.04am, Written by Amy Whiting
It’s not often you can say that you laughed your way through a play which is classed as a thriller, but this production of Ira Levin’s comedy thriller Deathtrap has laughs and shocks in all the right places.
The play centres around Sydney Bruhl, a once-thriving playwright now struggling to write another success, his wife, and a promising new playwright, Clifford Anderson, who has written a potential goldmine.
Jonathan Groff and Simon Russell Beale in Deathtrap
Levin explores the lengths people are willing to go to when driven by desperation, ambition and pride, and delves into the after-effects of a sinister plot.
Without giving away too much of the plot (the production requests a “what happens in the Noel Coward stays in the Noel Coward” approach), there is a nice balance of dark comedy and dramatic tension which keeps you in a state of anticipation without the threat that you’re going to wet yourself with terror.
The strength of the cast is a true asset to this production. Seasoned thespian Simon Russell Beale is the perfect choice to play a character that is well-versed in (and weary with) the theatre industry, conflicted by his simultaneous passion for writing and the pressure to produce new work for a critical audience.
Jonathan Groff (who many will know from the original Broadway production of Spring Awakening and most will know from Glee) brings an earnest naivety to the role, but is equally as adept at subtly portraying the darker elements of the character through the various plot twists.
But as dark as that all sounds, the production is actually very funny, and the rest of the cast (including Outnumbered’s Claire Skinner and Oscar-winner Estelle Parsons) contribute to the humour of the piece.
The set and lighting were also very effective. Although the action takes place in one set, comprised of Bruhl’s study and a few well-placed doorways, Rob Howell’s detailed design and well-considered set dressing does an excellent job of setting the scene, not only atmospherically but also in keeping us planted firmly in 1978. Hugh Vanstone’s subtle lighting does an excellent job of not being noticed until necessary; the mark of a truly clever design.
Deathtrap is an engaging and polished production from a talented cast and creative team. I’d definitely recommend seeing this high quality version of such an entertaining play.
