Review of Deathtrap – 4 Stars



Mercury Theatre, Colchester

Reviewed – 31st October 2017



“design is initially majestic and also cleverly subtle, leaving plenty of discoveries around the set”


Watching Deathtrap put me in mind of when I read ‘Gone Girl’, and was frankly a bit bored with the opening action then became pleasantly surprised when it turned out that actually my initial boredom was sort of the whole point. In another likeness to that recent novel blockbuster, I find it is difficult to write a thorough review of this Ira Levin play without including a few substantial spoilers. Let us just say that there are a more plot turns and character spins than you can shake a spine-tingling stick at throughout two roughly 60 minute acts of middle American domestic disturbia. I left with the over all feel of having seen a middle aged, live action take on the kind of brash teen horrors typical of the late nineties, filled with cheap but effective scares and frequent whips of humour to keep things moving along. This probably speaks more of my own age and cinematic preferences than the classic noir periods of Hollywood and Broadway frequently referenced throughout Deathtrap, which will have a greater impact on genre fans of that type.

Familiar faces of Albert Square Paul Bradley and Jessie Wallace take the top billing as the married couple at the centre of events. Jessie Wallace gives a solid performance of the disquieted wife to Bradley’s wonderfully sarcastic but volatile failing playwright Sydney Bruhl. Beverley Klein puts in a show stealing OTT turn as crazed Scandanavian pyschic Helga, though I have to call Sam Phillips as the standout performance of this production. His portrayal of Clifford Anderson is spot on, but is again difficult to comment on too thoroughly without over divulging the plot information. Phillips also manages to maintain a convincing and consistent American accent where some other cast members frequently fall short. Julien Ball in the smaller but still pivotal roll of Porter Milgrim ties the ensemble together neatly.

Production design (costume and set by Morgan Large) is initially majestic and also cleverly subtle, leaving plenty of discoveries around the set of Bruhl’s murder-prop adorned writing room for audience members with a wandering eye. Use of old suspense films clips (video design by Duncan McLean) gives a refreshing edge to the scene changes and points should be awarded for minimal but well placed sound (Ben and Max Ringham) and lighting (James Whiteside) effects.

Overall, director Adam Penford has dished up a bit of fun in this entertaining, if ever so slightly hammy play by the suspense powerhouse Ira Levin, whose work is heavily endorsed by chiller master Stephen King among many, many others. King fans might also appreciate the inward looking trick of creepy writers writing about creepy writers. Worth a visit either at the Mercury Theatre in Colchester until 4th November then heading to Birmingham and Richmond.


Reviewed by Jenna Barton

Photography by  James Beedham




is at the Mercury Theatre, Colchester until 4th November then continues its UK Tour



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