Deathrap: Dying for a Laugh

Ira Levin’s Deathtrap, written in only 2 acts, provides us with an endlessly thrilling murder plot, but more importantly, it is also a very clever and innovative example of playwriting.  At the same time  making light of itself with the utilization of witty, sometimes cheesy, humor that comes from putting together on stage an eccentric array of characters. 
The stage setup for Deathtrap, unlike other plays I’ve seen in London, was one fixed set.  This entire play takes place in Sydney Bruhl’s home (played by Simon Russell Baele). The set shows off the impressive cottage home of a well-known playwright who also happens to be an avid collector of weapons ranging from old pistols to axes, and even maces - some of which have been used as parts of his past plays.  A room of imposing wooden architecture filled weapons-fanatic’s collection makes for a maddening setting.  As the play goes along it’s many moods and as the suspense grows around murder, the immovable set succeeds in actually setting a mood of being a “deathtrap.“ Even I find myself feeling emotions similar to those one gets when experience “cabin fever,” a tension with being in the same space with the same people for too long, and feeling that someone is about to crack at any second.
The story itself is a clever, self-aware narrative, hinting at it’s own genius several points throughout the play.  Washed up writer, Sydney Bruhl and former student, Clifford Anderson (played by Jonathan Groff) devise a plot to kill Sydney’s wife so that the two may be together.  The plot is to make his wife, Myra (played by Claire Skinner) believe that Sydney intends on actually killing Clifford out of jealousy of a new play he’s written.  These events in turn lead to the death of Myra, having a heart attack as a result fake murder.  Up to this point, these exact events are what we believe Clifford has written.  I found it clever as they, Sydney and Clifford, mention how genius their murder plot would be as a play.
The part of Helga ten Dorp, local psychic (played by Estelle Parsons) provides a great insight in coming events, contributing to the suspense of figuring that another murder will take place.  Her comic relief as a an odd character adds to the cheesy humor and awkwardness of the play at points.  The people who dwell within the house always have some dark secret looming over them, and as Helga the psychic drops in at several points, she provides a sort of escape from the tension between them.  As Clifford moves in and works with Sydney, we witness the increasing mistrust between the two as Clifford wishes to write their murder plot as a play, while Sydney believe this play could expose the two of murder. With this, the full effect of that claustrophobic setting comes into play as at any time, the two have an entire house of weapons at their disposal to defend their position on the issue.  An epic psychological and physical dual between the two make for an epic climax.

The effects of the play contribute a great deal to the play as well.  Not letting the audience forget that this play is indeed a thriller, the use of loud sudden noises and dramatic lighting evoke moments of heart-pounding excitement.  For example, when Clifford “comes back from the grave” to “kill” Sydney, the sudden entrance is enhanced drastically with the thunderous sounds and lightening-like flashes.  I felt myself jump out of my seat seeing the mud-covered Clifford burst through the door.  We see this again on the stormy night in which Sydney and Clifford duke it out to see whether the play is made or not.  The lighting within the house has gone out due to stormy weather and all that is left is an eerie blue glow and lighting flashes as the two sneak up on each other throughout the room.  This all makes for one thrilling roller coaster.
It’s difficult to fathom a play that is labeled as a “thriller comedy,” but Levin creates such a unique play.  Unique in the sense that this play focuses less on a murder itself, but the silly pettiness that people will go through and fight for to get ahead or keep their “reputations” out of the black.  Unique also for it’s almost self-aware type of story that plays on itself like a looped video in order to push the plot forward. Ultimately, this play for me was a large success and would recommend it to anyone out to see a quick, suspense-packed laugh.


-Marc Palanca