Deathtrap, produced by Maurer Productions OnStage and directed by John Maurer, debuted at the Kelsey Theatre on Friday, April 4. The comical thriller ran through April 13.
Written by Ira Levin in 1978, Deathtrap centers around Sidney Bruhl, an older and arrogant playwright, as he struggles desperately to find his next big hit. The opportunity arises when Clifford Anderson, a timid young playwright and student, reaches out to Sidney for feedback on his promising thriller. Sidney devises a dark and comedic plan to lure and kill Clifford to steal the profitable play.1
Intense action music heightened the tension as the audience watched the husband trick and kill the young man, shocking his wife, Myra Bruhl, who had believed the plan was just a joke. From there, the plot twisted again and again, keeping the audience guessing throughout the roller coaster of a show.
The technical aspects of the show were used to reinforce the suspenseful tone.
During the scene changes, the lights went dark, except for ominous highlights on weapons, posters, portraits, and key set pieces.
Lighting and sound designer Judi Parrish said this was done to highlight the ever-present danger.
“You can see what Sidney has, what he’s living in. So it’s ever-present with those weapons, that you always see them,” she said.
The set itself was rich with Kelsey Theatre history.
According to the show’s master carpenter, Jeff Cantor, the show poster of Sleuth was from an actual Kelsey Theatre production of the play back in 2017, and the blunderbuss on top of the cabinet was Gaston’s from Beauty and the Beast. The portrait of the woman on the “weapon wall” was an actual portrait of the show’s producer, Diana Maurer, and the columns and wall panels were reused from the prior show, Kinky Boots.
Cantor said, “Normally, we’re not quite able to do that. Although, it depends on our relationship between different companies. We all generally get along pretty well.”
During intermission, classic ’70s music like “Loving You” by Minnie Riperton and “When Will I Be Loved” by Linda Ronstadt played in the background, giving the audience a brief respite from the intense events of Act One.
There was also an original bit during intermission added by Maurer.
“There’s a little bit of business that… movers are going to come in, take out the old desk, bring in the new desk, set it up,” Maurer said. “We have [Zhi Sharpe, the assistant stage manager] playing a maid because there’s no maid in the show. [Sharpe] then resets the desk and gets everything cleaned up before Act Two starts.”
With only five actors, the cast had the chance to dig deeply into their characters and relationships.
Edward Forsthoffer III, who played Sidney, said, “I think that’s probably fun for the audience because they see the guy who’s been cocky all of Act One suddenly see his whole life unravel.”
Daniel Gleason, who played Clifford, said, “Within the show itself, it’s clear that he has a specific kind of face or presentation he puts on for certain people… So it’s trying to figure out where those [presentations] begin and end so that the audience can kind of see the difference between a performance and the real creature that he is.”
The cast collaborated under Maurer’s direction, fostering a “wonderful” environment.
“They listen, they give back advice, if they see a problem, they don’t complain, they just come up and… we talk it out,” Maurer said.
Maurer’s directing balanced the show’s many moving parts into an engaging, cohesive production. His original addition during intermission, use of existing set pieces, and focus on collaboration created a playful yet tense display.
Audience members responded enthusiastically to the production’s staging and strong performances.
Phil Grau, a Hamilton resident, said, “I’ve heard of this show for many years, but I’ve never seen it. It was one of the better productions that I’ve seen here. The scenery was great.”
Leslie Kraus from Bristol, Pennsylvania, said, “The acting was better than the norm… They pulled you in, they had you listening to them, and they kept you on the show.”
Producer Diana Maurer acknowledged that while Kelsey Theatre’s programming often appeals to older adults, they also aim to reach broader audiences through occasional shows and gift certificates.
The show is a great balance between comedy and horror.
With the unique and fun components of the diverse set, the colorful cast of characters, and the production efforts put into the show, Deathtrap is the kind of play that leaves the audience questioning the nature of ambition.
As Maurer says, “Ambition can be detrimental. It can be a good thing, obviously… but don’t let it get in the way of what’s most important.”
