Agatha Christie’s ‘Mousetrap’ works on each level

July 15, 2016 - accent chair

By Peggie Miller / behaving humanities columnistAlthough it’s set around misty — or in this box snowy — London Town, there’s zero problematic about The Players’ stream prolongation of “Mousetrap” during downtown Conroe’s Owen Theatre.

Let me re-phrase that: There’s zero problematic solely a temperament of a killer in an English manse.

It’s a conspicuous entrance together of elements that creates this Agatha Christie classical work during each level. Seldom does one accumulate so most of what there is to know about a play’s characters before a singular one even speaks.

Roger Ormiston ceaselessly excels with light design, that he does again here, though he donned another shawl to pattern a set, and did himself right proud.

There’s a ideal change between magnificence and teetering on a edge. The set, a guesthouse good room, is comfortable, with a intense grate and engaging décor. The set plops a movement into a early 1950s, time of Christie’s classic.

The walls are an eggplant paint with light accents, and there are bookcases that your design certainly contingency disguise a tip stairway.

Look closely during a bric-a-brac on those shelves to unequivocally conclude how delicately set dressers chose each object. Costumer Michael Hayes, play executive Terry Lynn Hale, her partner Barbara Bradford, and Players’ assistant-in-charge Fay Beth Beckman put some critical hours into that job.

Look for a old, aged teddy bear forsaken on a chair; a copper gelatin mold, and a racing motorcyclist, to name a few. Your eyes will find a rest.

Costume engineer Hayes pulled an component of talent out from somewhere, relating impression and dress to perfection.

You see Jo Champion clad in gentlemanly style, including hat, and hair firmly pulled back. She’s intensely nasty and utterly nauseous in a tall, slim way. (When we spoke with her after a opening show, we detected that she’s unequivocally utterly pleasing as good as charming.)

Equally sarcastic is Sue McClelland Hayes as Mrs. Boyle, a querulous, perfectionist widow dynamic to be dissatisfied with everything. Primly dressed, her coming is some-more that of a unequivocally meant Queen Elizabeth II with no softening attributes, solely in genuine life.

But Hayes roughly outdid himself with a riggings of Michael Brown who gives a higher opening as peculiar Christopher Wren. From a boyish, careless hair to a bizarre knickers, Brown nearby dominates each theatre he’s in. His devious comments and mugs that fast spin irritable make him a primary think in a murder that occurs in a opening theatre where a theatre is totally dim though echoes with scary footsteps and a whistled hothouse rhyme.

Timothy Eggert turns in his common well-developed opening as a investigator seeking out clues to a crime, as does his real-life mother Angelie DeLos Santos, who mostly displays her talent in different roles. She portrays Mollie, half a integrate of young-marrieds who wish to money in on a roving open with their Monkswell Manor. Philip Harris plays her stressed husband, Giles Ralston, with good reasons to be noticed as a suspect.

O. J. Melvin, who frequents a director’s chair in some-more than one venue, performs in a nearby cameo-role. Hayes dolled him adult in black, with mustache and spats; elegantly suggesting another Brit inspector.

Geoff Evans, in suitable regressive attire, completes a guest register during Monkswell Manor. As Major Metcalf he manages to lift small courtesy to himself, though isn’t that a murderer’s intent?

Think it would be tough to keep adult an English accent though a Texas twang? These characters make a flattering good go of it.

Director Terry Lynn Hale excels in a restraint of actors’ movements. As Joe Visor once told me, “The restraint contingency always demeanour like a portrait,” and Hale’s does.

It’s an dusk of some predictability, though we will possibly learn — or reaffirm — a reasons because “Mousetrap” continues to lift in London crowds even after some-more than 60 years of continual performances. Hard to explain though a mindfulness keeps on going.

“Mousetrap” will yield chills for a whole family.

For those younger than “a certain age,” there are a few old-fashioned expressions among a lines; however,The Players enclosed an interesting wording list in a program.

“Mousetrap” runs weekends during 8 p.m. by Jul 24, with 2 p.m. Sunday matinees. The Owen Theatre is during 225 Metcalf Street in downtown Conroe.

Call 936-539-4090 between 3 and 6 p.m. or go to to reserve.

Stage Right presents “Legally Blonde a Musical” during Conroe’s Crighton Theatre, 234 N. Main, with a same report as a Owen. To see it, call 936-441-7469 or revisit This one’s rated PG and I’m saying it this weekend.

Peggie Miller might be reached with people and behaving humanities news during a email or call her during 936-448-6455.

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