Deathtrap
By Ira Levin
Thursday April 20^th at The Studio Theatre.

This was my first visit to the Studio Theatre. and I was most impressed by what the group managed to achieve in such a small space. Our tickets were taken by the box office which was actually a large desk, part of the set. The theatre has about 52 seats and as far as I could make out the majority of the audience knew each other and were greeting various members of the audience by name. A very friendly atmosphere indeed.

Everyone was extremely helpful. I had a parking space reserved for me near to the theatre. Otherwise it is quite a long walk from the road. Raffle tickets were on sale inside the auditorium , but there was no alcoholic bar or snacks available. At least there was no noisy chewing through out the play. We were also given directions to the theatre. There were no curtains and I think only one set plays were possible. However, every one knew what to expect.
The programme was clear and to the point. The cover a ruby red colour with clear white print inside. An old fashioned typewriter which features prominently in the play was on the cover with a sheet of paper in it with date and ticket numbers and seat reservations printed together with the title. The cast and team were printed on the first page in clear white print. The actual title of the play again together with details of the 2 Acts and Scenes were on the third page to maximise space. The printing on the back page was in black and not so easy to read. Information on the back included a very brief synopsis of the play, and details for the weekly activities of the group. There were some designs in black including a large black dagger down one side this programme and art design were created by Abi Porter and most eye catching.
The Play, Deathtrap by Ira Levin was written in 1978 and was the longest running comedy thriller on Broadway, and made into a film in 1982 with Michael Caine. It has been an amazing success, it is a thriller with a number of terrifying moments and some very funny lines to give the audience time to digest what is 'possibly' going on as you are never quite sure! It has been updated by the present director, moved from America to Norfolk and relies on such references as Tom Stoppard, and Harrison Ford, and also pounds instead of dollars for example.

The set included all the necessary requirements. The patio door was stage left and opened onto greenery for the garden. The main entrance was stage right, but anyone making an entrance was not immediately visible, but the size of the stage meant they quickly came into view. Straight ahead there was a stair case to the upstairs rooms. The set dressing was impressive with posters of Sidney's previous successes, some pleasant pictures, a small table down stage left for the necessary bottles and glasses and some gruesome weaponry from handcuffs (Houdini's, very important ) and a hatchet , a cross bow and various daggers. Certainly a tribute to the resourcefulness of the props team. The old fashioned Corona typewriter was authentic and absolutley necessary. (DTG workshop)
Stage Manager, Abi Porter, managed the changes of props and dressing single handed in the semi blackout most efficiently and without any obvious hitches.
Special mention is made in the programme of the Desk design and construction (Simon Reader) as it has an integral part to play in the plot and has to have certain characteristics such as a secret drawer. It really was most impressive, providing space for two actors to sit opposite each other and either type or write or just argue. How long did it take to construct?

This came into its own in the second act in Scene 2. Up till then it was blackouts and indoor lighting , but then there was the thunder storm. This was excellent and lasted the whole scene, working hand in glove with the sound which was operated by (Richard Kemp-Luck). Well done a most impressive piece of work. There was also a spooky and repetitive piece of music which was played throughout at opportune moments. Timing was always spot on. Most professional work.
Luckily the prompt (Linda Potter) didn't seem to have anything to do!

The costumes were all appropriate to character, eg jeans for Clifford, a suit and trench coat for Porter, flowing garments for Helga. and the items which were essential to the plot like the boots for Clifford, the plastic mac and wellington boots for Helga, though she could have looked a bit wetter. Sydney was smart casual, with a few minor changes . I thought Myra, needed to look rather more well groomed and sophisticated, after all she seemed to be the brains at the beginning and she certainly held the purse strings, her will backed this up. She obviously needed to be got rid of!

Rob gave a very convincing performance and it was a multi faceted one.
He had to be disillusioned with his loss of writing skill and inspiration, a good liar as he had to wriggle out of various tight corners, physically fit in his wrestling episode with Clifford, practically a contortionist when trying to open Clifford's locked drawer on his side of the desk. His various changes of body language were good until finally he was almost the passive partner. Facial expressions from smug to terror were excellent and the last few episodes until he was finally killed were exhausting for us. Good timing with the lines and a grasp of the humour in the play, as well the fear helped towards a well controlled performance. Jordan had to move from seemingly the bad boy to the compatriot. He did this well and was good at playing dead, and eventually being killed in tit for tat killings. He was a bit too overtly nervous when he first appeared, presumably for Myra's benefit and his muddy entrance from the garden grave was very frightening and not only finished Myra off, but gave the audience a lot to whisper about. He was two faced with Sydney only waiting to pounce. Helga warned Sydney about his boots, and Proctor the lawyer wanted Sydney to sack him. Too late, he had successfully got the upper hand! Really a rather nasty piece of work which the audience gradually came to appreciate. Liz was another wheeler- dealer and should have been rather stronger in her initial appearance, and in her planning for Clifford's murder. She successfully helped to carry out the body but needed to be more dominant at times. Little did she know that her early exit was well planned. She did a nice convenient heart attack! Liz tended to swallow the ends her lines. Gave a successfully melodramatic performance as the medium which started off being reasonably controlled when she came to ask for candles, only to get rid of Clifford temporarily so as to declaim her warnings and striking her heart and then rushing off to tell her daughter that the girl was pregnant and didn't realise. She handled the humour well and in the final scene became as nasty and devious as all the others. We never knew what happened finally but feel she could give Porter a run for his money. She managed to know all his nasty little secrets and revealed him in quite a different light. Greg's role changed significantly throughout, from Sydney's friend and lawyer pursuing a successful business career, to warning him about Clifford and suggesting he sack him as he suspects Clifford of hiding a different story in his drawer and double dealing Sydney, to the sleazy sex predator over the phone with 3 daughters not 2 that Helga reveals him to be and throws the pair of them into seemingly deadly combat, quite a challenge, but one which he successfully accomplished. Well done.

Margaret, assisted by Andrew, had quite a task on their hands. The play is very much a thriller and they achieved this very successfully. Although the small stage had its problems in term of setting movement etc. although generally it was clear, there was some up staging and talking away from the audience. However, they exploited the advantages in having the fights and stabbings and arguments almost in our laps, and the audience responded quite loudly with their comments. On the other hand they managed well to use the stage fully for the fights between the two men, dead bodies and their disposal, the use of the stairs SR although not on view good enough to shoot from or to stagger from with an arrow fired from a crossbow in the chest.
The direction of the cast was good and apart from Helga where it was acceptable was kept away from the melodramatic, although it could easily have gone this way. The humour was pointed and this was important, and the audience reaction showed this was successful. There were a number of reasonable chairs on the set, but not all were used, a pity as it could have given more variety. The fireplace was well used and all sorts of important papers were burnt.
The directors managed to point all the devious twists and turns so the audience were able to follow what was going on as the revelations were fed to us, and then further confused us. Good playwriting and a good direction. The last scene between Helga and Porter cuts off as the same play in a different guise starts to unravel.
The success of Deathtrap over the years was played here to follow the pattern, well done.

A very ' thrilling evening out' finished off by a rather spooky drive home !! Well done.

Eddie McKay    Adjudicator

Accompanied by Peter McKay

Deathtrap, written by Ira Levin

Director Margaret Coleman

Performed at Dovercourt Theatre Studio on Thursday 20th April 2023

I was warmly welcomed at Front of House by Linda Potter and Margaret Coleman and had the opportunity to talk with the cast and Director after the performance.

The scene was set in the study of Sidney Bruhl in his home in Thetford, Norfolk. Immediately I was impressed by the innovative set created on this small stage area. Resembling a study, there was a desk (which became 2 desks during the play) an array of furniture and an attractive fireplace with a realistic fire. Entrances and exits were via a pair of garden doors and a hidden staircase at the back of the set. There was an imposing display of weapons and firearms on the wall including an axe, a crossbow and guns, mainly sourced from re-enactment enthusiasts.

There was plenty of surprise and indeed suspense in this fast moving play with lots of twists and turns in the plot.
The main character of Sidney Bruhl, an ageing but once successful playwright, was very ably played by Rob Porter. Rob interpreted this role really well adapting his manner from placid to demanding to aggressive as the plot unfolded.
Liz McLeod, as Sidney's wealthy wife, Myra, originally a rather quiet character, became a forceful personality and had some wonderful facial expressions. She used the stage area very well with some good movement.
Jordan Brown, as Clifford Anderson, an aspiring playwright and one of Sidney's students, was most nervous and anxious during his first meeting with Sidney, the great "Master" to discuss the play which he had written. However, he soon overcame this and developed into an argumentative and aggressive personality. Jordan developed this character really well.
Katherine Johnson had a lovely role as Helga Ten Dorp, a neighbour and mystic who appeared on the scene intermittently at sometimes inconvenient moments. She kept her accent strong throughout and as her face was hidden by a veil she used her eyes and facial movement to enhance the character. She totally looked the part of a mystic.
Greg McDowell played the character of Porter Milgrim, the family lawyer. Quiet and subservient to Sidney and Myra, he became extremely animated and assertive in the final scene ie a vastly different character and Greg enacted this change very well.

There were some good sound and lighting effects eg thunder, lighting and gunshots, operated efficiently by Richard Kemp-Luck.
Director Margaret Coleman did a splendid job of staging this production and bringing out the best in the actors. Many congratulations Margaret.

This was an impressive performance by this talented society which held the audience's attention throughout. Congratulations to everyone involved in the production. It was well received and I enjoyed it immensely.

Hazel Hole MBE
Regional Representative
NODA East, District 11