The Stables Theatre and Arts Centre
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
The Bourne, Hastings
East Sussex TN34 3BD
01424 423221
Deathtrap
By Ira Levin
A Stables Theatre production
Directed by Andrew Bruce
11–19 April 2008
Reviewed by Fred Lacey
By Ira Levin
A Stables Theatre production
Directed by Andrew Bruce
11–19 April 2008
Reviewed by Fred Lacey
The Stables Theatre is on a roll: the latest production, Deathtrap, has had the “house full” signs out again, to rival its predecessors this season, The Lady in the Van and Improbable Fiction.
First performed in 1978, Deathtrap had one of the longest runs in Broadway history. Although it has dated to a certain extent, Ira Levin’s melodramatic comedy thriller remains an intricate and well-constructed piece that constantly surprises, and the Stables production directed by Andrew Bruce was no exception.
Ian Klemen turned in a strong performance as Sidney Bruhl, the once-famous middle-aged playwright, now washed up and desperate for a hit. He hatches a plot to steal the work of a talented young protégé, Clifford Anderson, played by Matt Turpin in Matt’s strongest performance to date at the theatre. Matt’s natural movement, coupled with accurate seventies costume and hairstyle, and clever change of tempo and emotion, produced a convincing portrayal of this equally duplicitous character—great American accent too.
Clifford’s script is called “Deathtrap”, and we soon realize that the action on stage mirrors the plot of this “play within the play”. However, almost nothing is what it initially seems, and a convoluted story of vice, avarice, murder and treachery unfolds, involving Myra (Michelle Bennett), Sidney’s frail and gullible wife. Deryn Lake, performing in her first Stables production, brought a natural comic exuberance to the eccentric role of Helga ten Dorp, the psychic neighbour who interferes. Also involved was Sidney’s lawyer, played with reliability and conviction by Derek Crawley.
The action took place in Sidney’s study, a handsomely converted stable, grafted on to an authentic New England colonial house. Particularly impressive were the dressing of the set and the props for the play, which relied on a collection of antique weapons including guns, knives, handcuffs, broadswords and a crossbow. These both referred back to Sidney’s past plays and also played a vital role in the action. Sound and lighting contributed to the creation of a suitably melodramatic atmosphere, with careful attention paid to coordinating the key lighting and sound effects of a storm to mirror the play’s growing tension.
Although on occasion a little more pace would have been appreciated and a greater use of the stage could have been made, it remained an entertaining evening that was thoroughly enjoyed by its audiences.
First performed in 1978, Deathtrap had one of the longest runs in Broadway history. Although it has dated to a certain extent, Ira Levin’s melodramatic comedy thriller remains an intricate and well-constructed piece that constantly surprises, and the Stables production directed by Andrew Bruce was no exception.
Ian Klemen turned in a strong performance as Sidney Bruhl, the once-famous middle-aged playwright, now washed up and desperate for a hit. He hatches a plot to steal the work of a talented young protégé, Clifford Anderson, played by Matt Turpin in Matt’s strongest performance to date at the theatre. Matt’s natural movement, coupled with accurate seventies costume and hairstyle, and clever change of tempo and emotion, produced a convincing portrayal of this equally duplicitous character—great American accent too.
Clifford’s script is called “Deathtrap”, and we soon realize that the action on stage mirrors the plot of this “play within the play”. However, almost nothing is what it initially seems, and a convoluted story of vice, avarice, murder and treachery unfolds, involving Myra (Michelle Bennett), Sidney’s frail and gullible wife. Deryn Lake, performing in her first Stables production, brought a natural comic exuberance to the eccentric role of Helga ten Dorp, the psychic neighbour who interferes. Also involved was Sidney’s lawyer, played with reliability and conviction by Derek Crawley.
The action took place in Sidney’s study, a handsomely converted stable, grafted on to an authentic New England colonial house. Particularly impressive were the dressing of the set and the props for the play, which relied on a collection of antique weapons including guns, knives, handcuffs, broadswords and a crossbow. These both referred back to Sidney’s past plays and also played a vital role in the action. Sound and lighting contributed to the creation of a suitably melodramatic atmosphere, with careful attention paid to coordinating the key lighting and sound effects of a storm to mirror the play’s growing tension.
Although on occasion a little more pace would have been appreciated and a greater use of the stage could have been made, it remained an entertaining evening that was thoroughly enjoyed by its audiences.
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Photographs > www.artypharty.com
A selection of production photographs from the 1950s to the present is available at our photographer Peter Mould’s website.
A selection of production photographs from the 1950s to the present is available at our photographer Peter Mould’s website.
