Recipes come in all shapes and sizes. There are step-by-step directions for everything from meals to books to films. In Pioneer Theatre Company’s case, the concoction for the perfect thriller is manifested in Ira Levin’s play “Deathtrap.”
Written in 1978, “Deathtrap” takes the concept of a page-turner and turns it upside down. Like many satires, it recognizes challenges experienced in the profession of writing.
The curtains open to struggling playwright Sidney Bruhl (Thom Sesma). He has just read the first draft of “Deathtrap,” a play bound to receive critical acclaim and Broadway sales. Power-hungry for writing praise, Sidney plots to murder fledgling storyteller Clifford Anderson (Devin Norik), the talent behind “Deathtrap.”
Of course, in thriller fashion, plot twists are a main ingredient in “Deathtrap’s” recipe. Unfortunately, the redundancy of plot synopsis staged throughout the play distracts viewers from its “just out of sight” surprises.
Nonetheless, PTC saved what is easily a boring and repetitive scenario. It managed to pull in skilled actors, and with a cast of five characters, it’s important to note how this small group carries the production.
Sesma has a presence fitting for a conniving and greedy villain. In “Deathtrap,” there are two sides to the villain coin, and Norik is the head to Sesma’s tail. When portraying Clifford, Norik embodies the epitome of a gentleman. With feminine mannerisms, he also adds sensitivity to his character’s personality. And while Sesma and Norik compliment each other’s characters, they lack on-stage chemistry.
However, Sesma and Norik are not the only talents behind the show. Most thrillers call for a scared housewife, and in “Deathtrap,” that person is Sidney’s wife, Myra Bruhl. Played by Gayton Scott, Myra’s mannerisms are their own character. Throughout the first scene, the audience is aware of Myra’s proclivity to faint from fear — an eccentricity that gets the best of her.
Others walking the PTC stage are Kymberly Mellen (Helga Ten Dorp) and Craig Bockhorn (Porter Milgrim). Mellen is the comical savior of “Deathtrap.” It is easy to overdramatize the lines and actions of a scatterbrained psychic, but with flawless timing, Mellen manages to pull off her character’s over-the-top Dutch accent and klutziness.
Craig Bockhorn balances the character dynamics with his take on Porter. Like most lawyers, Porter is suspicious of his clients’ habits and motivations. Bockhorn adds the needed element of distrust, which catapults the end scene of “Deathrap.”
In addition to acting chops, a well-produced play calls for the component of set design, and without the artistic style of Daniel Zimmerman, “Deathtrap” would lack horror appeal. As set designer, Zimmerman created the interior of a country home. With rustic furniture, appliances and accessories, Sidney’s house almost welcomes a murder scene. And lucky for the main character, his home is adorned with antique weapons.
Lighting also enhanced the thriller tactics of “Deathtrap.” In death takes, the turbulent actions of Clifford and Sidney are enhanced with the use of chaotic lighting.
With comical acting and a log cabin setting only found in horror films, the production successfully highlights the ups and downs of storytelling. Though the show’s plot is somewhat contrived, it does force the audience to question the value of creativity and success.
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