The Mousetrap: Director’s Notes
I’ve been thinking about murder mysteries, these curious things that many of us find intriguing and, at times, a kind of obsession. Who did it? How? Why? The questions reveal in us a want to explore the unknown and the safe thrill of exploring an abominable act from a distance. If you trace the origin of the word mystery, you will find it linked to mystical secrets and truth. In the same way, the word murder weaves a trail through Norse and Old English and can be associated with mortal sins. This little game that we play with Agatha Christie and many other great writers of this genre is a way to explore our own mortality and sense of trust. It’s also great fun!
Everyone has a secret. We can never reveal all of ourselves in any given moment and, despite strategic plans and long-term goals, we rarely see ahead with 100% accuracy. It’s why hindsight is always 20/20. We might run from, or embrace, mystery. In this play it may be buried under layers of deceit, hidden in cracked dialects and details or out in the open for anyone to discover. In the large house with strange company, no one can be trusted – but everyone must be relied on to reveal the killer. I hope you enjoy the game – first performed in 1952 and still going strong. Welcome to The Mousetrap.
Mark is a proud resident of Vancouver Island and has enjoyed directing Sherlock Holmes, Jeeves in Bloom, A Pretty Girl (A Shayna Maidel), Delicious Lies, Harvest, The 39 Steps and Amadeus for Chemainus Theatre. Other favourites include: A Christmas Carol, Strindberg’s Easter, Anne, Mr. Pim Passes By and Pet the Fish. He has collaborated with companies including Theatre X, Pacific Theatre and TheatreOne to develop over a dozen new plays. Favourite acting credits include: Mass Appeal, Enchanted April, Queen Milli of Galt and Streetcar Named Desire.