Stray Dog’s Engaging, Clever ‘The Mousetrap’ Warms A Winter’s Night

Stray Dog’s Engaging, Clever ‘The Mousetrap’ Warms A Winter’s Night

By Lynn Venhaus
A classic murder mystery always seems like a wise wintertime choice, and inside Tower Grove Abbey, a pair of novice innkeepers welcomes six strangers to their cozy Monkswell Manor guesthouse. Let the secrets unfold and the ear-piercing screams commence, for Agatha Christie’s “The Mousetrap” is an absorbing time-tested whodunit that Stray Dog Theatre aims to polish until it’s gleaming.

As well it should. This well-cast and well-acted ensemble honors the Grand Dame of suspense’s longest-running play in the world by injecting some spry bits of humor, corralling the momentum of this cleverly constructed drama.  

In the remote English countryside, a snowstorm is raging while a young married couple, Mollie and Giles Ralston (Claire Coffey and Sean Seifert), nervously prepare for their first visitors, who are an eclectic and mostly eccentric group, with a few hiding sordid pasts that eventually will be revealed.

The colorful cast includes neurotic Christopher Wren (Jayson Heil), snooty Mrs. Boyle (Julie Healey), steadfast Major Metcalf (David Wassilak), reserved Miss Casewell (Shannon Campbell), and flamboyant Mr. Paravicini (Matt Anderson), who make grand entrances not unlike Halloween trick-or-treaters in their neon-colored outfits.

Matt Anderson, Shannon Campbell, Drew Mizell. Photo by John Lamb

It just so happens that news of a murder in London has spread, and with a killer on the loose – the prime suspect was wearing a dark overcoat (!), nerves start to fray. A determined police detective, Sergeant Trotter (Drew Mizell), unexpectedly shows up to interview the guests, and his interrogations are making everyone nervous.

Could there be a murderer in their midst? It doesn’t matter if you’ve seen this play before or it’s your first time, the intricate plot twists keep one invested.

Director Gary F Bell has astutely focused on the different characters while nimbly moving them around, so the action never dulls. As attention and suspicions shift, the actors crisply deliver their lines with admirable well-rehearsed accents (not all sounding the same either).

The performers memorably personalized their roles, so they each stood out. Heil is a bright spot as chatty Christopher Wren, all nervous energy and exuberance, while Healy purposely annoys as overcritical Mrs. Boyle, who finds fault with their hosts’ inexperience and complains constantly.

Wassilak and Campbell are solid as affable Major Metcalf, a retired Army officer, and stand-offish Miss Casewell, while Anderson is intentionally hammy as the peculiar Mr. Paravicini, exaggerating a strong Italian accent and having fun taunting by repeating “Three Blind Mice,” an ominous earworm.

Jayson Heil, Sean Seifert, Drew Mizell, David Wassilak, Matt Anderson. Photo by John Lamb

When Trotter enters the room, sniping begins as everyone becomes a suspect, and even the congenial Mollie is caught off-guard by her husband’s jealous behavior. Coffey and ever- reliable Seifert maintain an off-kilter rhythm, skillfully conveying their unease as things go bump in the night.

Mizell is tough as Trotter, his steely resolve evident as he probes the case, asking uncomfortable questions and keeping everyone on edge.

As misery escalates, cracks uncover backstories and highlight current actions, so that the crimes will be solved in what’s considered a brilliant surprise ending.

The program says the time is 1955 in Berkshire, 30 minutes outside of London, but the costumes don’t reflect the period. Instead, they feature a puzzling color scheme comparable to the comic mystery players in “Clue.” Wren could be Mr. Hot Pink and Paravicini as Signore Electric Grape.

It’s a perplexing bold statement costume design by Colleen Michelson. A few outfits are odd choices – Miss Casewell had extra-large wide-leg bright orange palazzo pants that distracted from the action (I was worried she’d be tripped up on the staircase), and Mollie had an unflattering yellow apron to match her too-spring-y yellow dress that looked like a pair of granny panties were attached instead of frilly pockets. .

Splendid technical elements added to the unsettling mood, with Justin Been’s impeccable sound design, complete with Bernard Herrmann-like music, and Tyler Duenow’s lighting design made the striking Great Hall set claustrophobic. Designed by Richard Brown and Dominic Emery, the stained-glass window and staircase were terrific additions to the old-fashioned lounge.

A foundation for many other mysteries, “The Mousetrap” premiered on Oct. 6, 1952, and after a brief tour, opened in London’s West End at the Ambassadors Theatre on Nov. 25, where it ran until March 23, 1974, when it transferred to the larger St. Martin’s Theatre, which was next door, and continues to this day. But on March 16, 2020, it was forced to shut down for 14 months because of the global coronavirus pandemic and resumed on May 17, 2021.

Christie based the now iconic play, originally written for radio as “Three Blind Mice” in 1947 and a short story, on the Dennis O’Neill case of foster child abuse — just like the kidnapping in “Murder on the Orient Express” (1934) resembled the Lindbergh baby case, for a reality-based starting off point.

This satisfying production is a fine example of how a 70-something air-tight structured detective fiction can be spruced up and entertain both longtime mystery fans and curious newcomers.

Claire Coffey, Drew Mizell, David Wassilak, Jayson Heil, Matt Anderson, Shannon Campbell and Sean Seifert. Photo by John Lamb

Stray Dog Theatre presents “The Mousetrap” Feb. 1 through Feb. 17 at the Tower Grove Abbey, with performances Thursday through Saturday at 8 p.m. with a special Sunday matinee at 2 p.m. on Feb. 11 at the Tower Grove Abbey, 2336 Tennessee Avenue, St Louis 63104. Gated parking is available. For additional information and ticket reservations, call 314-865-1995 or visit www.straydogtheatre.org. Tickets for adults are $35, with seniors age 65+ and students $30.

ASL Interpretation: The 2/2, 2/9, and 2/16 performances will be presented with ASL interpretation by students from Southwestern Illinois College. ASL interpreted performances are suitable for audience members who are Deaf, deafened, or have hearing loss. They can also be valuable for people who are learning ASL.

Hanging at Monkswell Manor. Photo by John Lamb

Everybody Wants to Rule the World in a Striking ‘The Lion in Winter’

Everybody Wants to Rule the World in a Striking ‘The Lion in Winter’

By Lynn Venhaus

The rapacious 12th Century Plantagenet Family behaves as badly as the modern-day Roys of Manhattan and The Duttons of Montana, a rogues’ gallery of royal connivers in “The Lion in Winter.”

That’s one of the many reasons why The Midnight Company’s bracing production is fun – and riveting – to watch because sparks fly, and flames are fanned in a master class exercise in acting.

Director Tom Kopp has lit a fuse under his finely tuned ensemble so that they burn bright, crackling with big birthright energy while delivering virtuosic performances: Joe Hanrahan, Lavonne Byers, Joel Moses, John Wolbers, Ryan Lawson-Maeske, Michael Pierce and Shannon Campbell.

As the formidable ensemble tackles each aristocratic character like a predator setting a trap for his prey, they often strike a playful, comedic tone but mainly heighten the drama’s intensity because their massive ambitions collide in a winner-takes-all battle. The prize: inheriting the crown of King Henry II of England.

Multi-hyphenate award winner Joe Hanrahan plays mega-manipulator Henry with a smirk and a gleeful vitality, emphasizing his skills at being a disrupter and poster boy for “It’s Good to Be King.” He met his match with his older ‘bride,’ Eleanor, the richest and shrewdest woman in the world who bore him four sons, but they sure don’t care much for them, except as pawns in their epic face-offs.

James Goldman’s 1966 play is set at a contentious Christmastime in 1183 in a castle in Chinon, France, on land still owned by the British ruler. The classic dysfunctional family is hanging festive holly, but they are far from jolly.

That’s to be expected, with the mom – who tried to overthrow the king awhile back — about to return to prison, where she’s been kept by her husband for 10 years, and then dear old domineering dad put the three bad-tempered sons in the dungeon. His firstborn has died. Sounds – and looks like – a holiday in hell.

The wannabe kings. Photo by Joey Rumpell

With anger and resentment thick in the air and mulled wine flowing, swords are brandished and emotions erupt as conflicts ensue. You can see the wheels turning in their cunning little heads. Kopp has briskly staged the posturing, maneuvering, embracing, and shouting so that we’re kept off-guard and suspicious.

The group is tangled in one–upmanship, some more obvious than others – but it’s apparent the amount of trust and respect among the actors that allows them to have a field day with the material and each other.

One of the grand dames of St Louis regional theatre, Lavonne Byers ascends to her lofty perch as the crafty and regal queen – and in a savvy display, she doesn’t telegraph what she’s doing until it’s done, so smooth in the takeovers.

The two-time St. Louis Theater Circle winner and frequent nominee devours anyone in her path as the legendary Eleanor of Aquitane, the role that won Katharine Hepburn her third of four Academy Awards in the 1968 movie version.

As the mom-and-pop puppetmasters, Hanrahan and Byers are spirited in doing the Tango Queen as they dance around – and this battling couple actually loves one another. But as to which of their three chips off the old block will take over the kingdom is quite a game of chess.

Richard, the warrior, as in “The Lionhearted,” won’t be denied, but neither will the pre-Renaissance Machiavellian Geoffrey, bitter about being passed over, and they both are out of favor because the youngest, an immature buffoonish John, is daddy’s favorite. (Maybe because they both behave like petulant children.)

The terrific trio of Joel Moses as the steely soldier Richard, John Wolbers as sly schemer Geoffrey, and Ryan Lawson-Maeske as spoiled brat John lock into their characters seamlessly.

I’m not concerned about their characters’ ages – Richard, 26; Geoffrey, 25; and John, 16, and you don’t have to be either – it’s called acting, and they’re very good at creating full-bodied portrayals. When you have actors not usually known for playing villains in amoral roles, it’s delectable. (Also, smart choice to not have English accents).

The French kids. Photo by Joey Rumpell

Then complicating things are those testy French folks staying there, unpleasant attitudes flaring up – the young King Philip, 18, who’s been in charge for three years, and his sister, Alais, 23, who besides being a princess is supposed to be engaged to Richard but is Henry’s very young mistress. That’s another soap opera, but she may be the most ruthless of all.

Alais has been in the castle for a long time, pretty much raised by Eleanor. Strange bedfellows indeed. Shannon Campbell and Michael Pierce are strong in those roles, setting themselves apart from those high-maintenance Plantagenets but still crafty. After all, the new king is itching to go to war with England.

The creative team has delivered a vibrant staging, with stage manager Karen Pierce keeping the action from sagging. With a well-appointed set design by Brad Slavik, well-lit by lighting designer Tony Anselmo, and vintage props collected by Miriam Whatley, the look is a pleasant replica of nooks in a drafty castle. Costume designer Liz Henning demonstrates her considerable gifts outfitting the royals in impressive fabrics, textures, embroidery and finery.

A special touch is original music composed by Susan Elaine Kopp that gives it an authentic cultural  “welcome to the almost Renaissance” sound.

If you like diving into history, you may enjoy finding out who succeeded Henry. Spoiler alert: the tall fighting man. But that should be its own sequel.

The Midnight Company’s invigorating production makes the past become an absorbing power play by movers and shakers that leaps off dusty pages of an Encyclopedia Brittanica. Long live the kings in a not-to-be-missed show.

The Midnight Company presents “The Lion in Winter” from Oct. 5 to Oct. 21, with performances at 8 p.m. on Thursdays, Fridays and Saturdays, and at 2 p.m. Sundays on Oct. 8 and 15 at the .Zack Theatre,

Mom and Pop. Photo by Joey Rumpell