Deathtrap: A handsome-looking production that doesn’t always mask inherent problems in the script.

By Jamie Portman | March 21, 2013

Photo: Glendon James Hartle

The big problem in discussing Ira Levin’s clever but nasty thriller is that there’s not much you can say about it without spoiling the audience’s enjoyment. The script revels in unexpected twists and turns, and is adept at orchestrating the kind of shock scene that gives you no advance hint that it’s going to happen.

On the other hand, no production should give you time to think too hard about the play because that will make you aware of just how preposterous it really is. That means maintaining a solid theatrical momentum which drives the story to its gruesome climax. It also means an appreciation of the fact that — for all its cunning with plot devices — the play is also a character piece.

Ottawa Little Theatre’s current revival is fortunate to have Lawrence Evenchick in the pivotal role of Sidney Bruhl, a once successful mystery playwright who has lost his magic touch and is so desperate for a new hit that he’s prepared to contemplate murder to achieve that end. Evenchick is excellent in communicating Bruhl’s ego and single-mindedness, also his dangerous combination of outward suavity and inner neurosis. His performance is always fun to watch — psychologically convincing, and adept with the big scenes.

Dan DeMarbre is appropriately gauche as Clifford Anderson, the aspiring young playwright whose doom seems sealed when his fledgling script ends up in the hands of his distinguished elder. That Sidney covets this newcomer’s outstanding achievement for himself is putting it mildly. The stage is set for mayhem.

These two actors do have some powerful moments together, with one electrifying second-act sequence which makes its impact through emotional intensity rather than from crafty on-stage business. However there is some slackness in the direction of John Collins, and one crucial moment involving a crossbow is in urgent need of re-examination by director and cast.

It’s a handsome-looking production, with a terrific two-level set from Mike Heffernan: he along with props providers Kathy and Jack Piche, have been attentive to the play’s needs in giving us an thoroughly convincing Westport study. There are good costumes from Jeanne Gauthier and problematic lighting from David Magladry who fails to convince us that it is really night time at one important moment.

The bottom line here is that the production doesn’t always mask inherent problems in the script.

Diana Franz faces a big obstacle as Sidney’s wife, Myra: she is miscast — too young for the role, so much so that, in her big moment, you don’t really believe what’s happening, no matter how hard she tries.

There’s also the problem of Helga ten Dorp, the garrulous Dutch psychic who lives next door. This was a tiresome character when Deathtrap first opened on Broadway, and Angela Pelly’s performance for OLT doesn’t stop her from seeming tiresome today.

Gordon Walls makes as much as he can out of the role of a lawyer, but neither he nor Pelly can do much with the play’s brief final scene, a painfully unfunny coda which is unnecessary. Better to chop it completely and allow the play to end with a genuine bang instead of petering out into silly inconsequentiality.

Deathtrap plays at the Ottawa Little Theatre until April 6.

Deathtrap by Ira Levin

Directed by John Collins

Set Design by Mike Heffernan

Lighting by David Magladry

Sound by Lindsay Wilson

Costumes by Jeanne Gauthier

Props by Kathy and Jack Piche

CAST:

Sidney Bruhl — Lawrence Evenchick

Myra Bruhl — Diana Franz

Clifford Anderson — Dan DeMarbre

Helga ten Dorp — Angela Pelly

Porter Milgrim — Gordon Walls