For my first London play, I had to go with a classic. The Mousetrap. It’s been running for 70 years or something—had to be good, right? And it was. The original true crime, inspired by real events, it weaves a story of suspense, secrets, and misdirection.
The production itself is fascinating. The set gets refreshed every thirty years or so, whether needed or not. The cast rotates annually, though occasionally someone comes back: one of the current actresses last played the same role a decade ago. But one performer has never left since opening night. Early in the play, you hear a voice on the radio—actor Deryck Guyler’s. He’s long gone now, but his voice lives on. Somewhere in there is a metaphor for… something. Permanence? The persistence of art? Or just good archival work.
As for the plot? Though I’ve read most of Agatha Christie’s work, I wasn’t familiar with this one, so the final revelation genuinely floored me. The real killer was… No, I won’t spoil it for you. That would break the unspoken pact between the audience and mystery. Let’s just say, trust no one. Or everyone. Either way, it’s a must-see for anyone who wants to feel part of theatre history—and leave guessing until the very last moment.
👍👍
The Mousetrap
St Martin’s Theatre, London
Written by Agatha Christie
Directed by Ian Talbot
Cast: Jonathan Tynan-Moss as Christopher Wren, Rob Pomfret as Mr Paravicini, Philip Childs as Major Metcalf, Phoebe Sparrow as Miss Casewell, et al.
Elia Kabanov is a science writer covering the past, present and future of technology (@metkere).
Illustration by Elia Kabanov feat. Midjourney.
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