Review: A Masterful Game Of Cat & Mouse In AGATHA CHRISTIE'S MOUSETRAP at Stageworks Theatre

"Strikingly beautiful," "ghost-like," are just two adjectives that make up the mood in which Agatha Christie's Mousetrap, leaves on it's audiences which can witness this "who-dunnit" now on-stage at Stageworks Theatre in the heart of downtown Tampa. At least that was the first and lasting impression I received upon entering the space Saturday night for a mere sold out performance, that was so stunning I still think about it days later. After all as one character proclaims, "First impressions are so important," and this bone chilling first impression still has me gasping for air.
As an audience we are thrust in the era of an almost picture-esque "Black and white" film our elders stayed up late to catch before falling off into slumber, and this spooky, masterful sleuth is as elegant and poignant as they get. After all, "There has to be a beginning for everything," and this fresh take on a classic was a new beginning for some, and had a feeling of an old favorite locked away in some clandestine library only pulled out on nights where the moon is full and everyone is craving an escape from reality, even if just for a little while.

Set in the 1950's amidst a backdrop of the Great Hall at Monkswell Manor a beautiful Mollie Ralston played exceptionally well by Marissa Nicole Koch graced the stage and began the affairs of getting the Manor in order for the soon to be arriving guests. Joined by her ever stoic husband Giles Ralston played by Jesse Hutson the pair seem prepared but nervous about their houseguests. We see the arrival of the guests and the impending chance of no escape due to a terrible snowstorm. Tensions rise, and feeling like a "mouse" caught in a trap with nowhere to go, one of the guests ends up dead, but who's the culprit?

The use of the beautiful scenic design from Scott Cooper lent an even more "creepy" vibe. The stage felt as cold as the winter in which our characters were enduring. The use of the beautiful costume design by Nadalia Hiraldo Morales and Kessler Jones allowed the audience to be entranced into the plight of the characters, but to also focus on the events played out in front of us. Blending seemlessly with the set the use of the grey manor, and the black and white costumes resonated very strong and represented the time period exceptionally well.

The use of the makeup gave a spooky feel, unsure of the vision behind, but it made for an exceptional effect. The only note I would give is that blending to outer areas are always a plus, if the intent was to masks and disguise any and all pigment from the human skin tones, there were times I noticed hairlines weren't completely blended out, and one should make sure to blend down and through the neck as to not appear having a mask like look. I get the idea of the black and white to make it seem like the black and white films of the era, but per-chance there was a way to make this more effective. I will say I was impressed with the use of the grey gloves to mask the color of skin on the hands, it blended exceptionally well and that was a brilliant adddition to the costumes. The Victory rolls in Mollie Ralston's hair was a perfect fit for the time frame.

Christopher Wren played masterfully by Chris McCoy is clearly the resident bad boy of this piece. He's broody and mysterious, and I loved every second. In a couple of instances he was a dead-ringer for a Cole Sprouse look-a-like and almost lent himself to give Ezra Miller a run for his money, in an era of Riverdale, "Archie Comics" and Perks of Being a Wallflower I wanted more, and he delivered on every level. Greg Thompson played a perfect Major Metcalf and I was always drawn in to see what he was going to do next. Reminiscent of the great Jerry Orbach he commanded the stage in every scene. Cornelio Aguilera as Mr. Paravicini was a great addition to the cast, he graced the stage and I could have swore Danny Trejo was in front of us, and his escape into the "drawing room" was exceptionally entertaining and made me watch his every move. Mrs. Boyle was an over the top regal woman and I was here for every second. Comedic in her lines, and almost snobbish regard to anything lower class was brilliantly played out by Eileen B. Lymus-Sanders. Her character was so outspoken and very commanding you almost miss her presence in the second act. Madeline Krebs lends a wonderful grace to Miss Caswell and I enjoyed her performance, and excited to see where her career takes her.

If there ever was an Everyman character within this show, the disposition would lend itself to Adam Workman's Detective Trotter. He was what I needed in every character, the power, the stage-prescence and the escape from reality that he encapsulated the audience in with every line is the reason we go to the theater. Strong in every aspect he was the one to watch. Having missed his recent turns in Dancing at Lughnasa, and 1984 I cannot wait to see what he does next, but I am so excited to see his talent and was happy it was this Masterful turn in such a beloved classic.

Sound design from Stageworks Artistic Director Karla Hartley gave an almost eerie ghost-like vibe to this perfect mystery. The sounds of the wind that echoed through the halls of the Manor gave me chills with every gust. So with every guest questioned, and no one answering; then one question remains. Who dunn it? Was it the idea that a children's nursery rhyme normally used to lull children into sleep could have tormented the brain to commit a heinous crime? Was it a sociological disorder of the brain, or was it the mere idea that everyone was caught like a "mouse in a trap" with no way out?Perhaps, its the love shared between a father and son, and in some mentally-unstable way we are all made a fool. Five people telling the truth, and one is lying, but who? Their reconstructions of their movements were a reminiscent glimpse into a Ken Ludwig curtain call playback. However in these reconstructions we truly see everyone is indeed trapped! What is interesting is the intended actions weren't necessarily repeated by the same originators.

With a beautiful set, lighting, and sound design, and costumes/makeup very fitting for the time period, Agatha Christie's Mousetrap is exceptional. From top to bottom this production directed to utter Mastery by Paul Finocchiaro is an exquiste piece of artistry and one that still chills me to the bone. Paul and his cast deserve the highest accolades for this stunning work. Think you can figure out whom the culprit is? Maybe at Intermission you have a conversation over a glass of wine, maybe you sit trying to sort out the puzzle in your head, or maybe just maybe you are trapped all the while and still unsure. One thing is for certain don't get trapped without a ticket to this spine-chilling mystery, and if per chance you do get to see this, as much as it may "kill" you to tell the ending, the best thing you can do is, "SHHHHHHH!"

Photo Credit: Stageworks Theatre