Deathtrap is a mystery-thriller about a play that's a mystery being written mysteriously, leading to mysterious turns of the play's plot. And, under Peter Amster's flawless direction, it's thrilling. Along with plenty of comic put-on, he's put it onstage not as a period piece but rather one of deadly intrigue at a definite time: 1978.
Playwright Sidney Bruhl's Westport, CT, study sets the creepy scene. Its light comes mainly from small fixtures, flames from a rough stone fireplace and whatever comes through windows behind his desk. In the background, center, is a well-illuminated entrance foyer. It also leads to partially seen steps to second floor bedrooms. Michael Schweikardt's beautifully detailed design has walls of dark shelves crowded with books and weapons. The latter -- props from Sidney's mysteries -- contain knives, guns, chains, even medieval arms like a crossbow. Houdini's handcuffs figure among souvenirs.
Sidney's Smith Corona hasn't been used to type a hit in almost two decades. From teaching to bring in money, even if nothing compared to wife Myra's wealth, he's found Deathtrap. It's a surefire play by a young writer, whom he's invited to bring his manuscript and first draft, possibly to work on a collaborative version.
That Sidney wants to steal Clifford Anderson's play deeply troubles weak-hearted Myra. After the somewhat cocky student shows up and senses a deviousness in Sidney's attitude, there arises danger of competition instead of cooperation. Will Sidney kill for the play? If so, will Myra figure in?
With continual turns and twists and double crosses, the plot of clever Ira Levin's Deathtrap follows the characters' plotting of their Deathtrap. With that second play come many theatrical "in" jokes, but the first draws much of its laughter from surprises and irony. For instance, Helga, a Swedish psychic who advises police re strange cases, comes to the house due to having "bad vibes"-- actually good clues that are taken for bad ones.
There's also Porter Milgram, Sidney's lawyer, who'd love to write a mystery. Not his writing ability but his "suspicious mind" breeds suspense.
Bringing cheer into the gloom, James Clarke supplies comic relief as the lawyer who also imparts serious info. In garments overprotective from outside weather, Carolyn Michel wisely underplays somewhat funny Helga to make her observations realistically prescient.
More traditionally feminine, Myra is interpreted by Mercedes Herrero as so loving that concern for her husband trumps her morality. No wonder she has physical heart trouble, as well.
Bryan Torfeh's selfish Sidney smoothly shifts from sophisticated to flappable, then smug to desperate. How much is Clifford, while confident about his play, admiring, trusting, possibly in awe of his teacher? Or is the student sly and graspy under a pose of youthful enthusiasm? With flair, Dane Dandridge won't let him just be pinned down.
Given its admirable director, actors, and tech support, Deathtrap at Asolo Rep merits snaring mystery lovers of every period.
