Drury Lane lavishes lots of talent on classic 'Deathtrap'
Two years ago when Drury Lane Theatre announced that plans were afoot to revive “Deathtrap,” you can bet that some habitual theatergoers sniffed and thought “That old thing?” Drury Lane then didn't give the impression that Ira Levin's 1978 play was must-see theater when they subsequently bumped off “Deathtrap” from its 2015 season roster in favor of the new musical “Beaches.”
Well banish any negative notions about “Deathtrap” right now. There are reasons why Levin's “Deathtrap” is often cited as the last truly great Broadway thriller, and Drury Lane's top-notch revival is a resounding reminder why — especially when you gage the volume of so many shocked audience gasps.
“Deathtrap” still holds up well thanks to how very self-aware its characters are to the elemental components of the stage thriller genre. Many even go so far as to name-check older thrillers like “Angel Street,” “Dial ‘M' for Murder” and “Sleuth” (hipsters nowadays would use the term “meta” to describe this).
So even if “Deathtrap” can't escape its late 1970s period setting with its manual typewriters and plot points involving carbon copies, the play gleefully lets audiences be an insider party to its own tense and frightful manipulation.
“Deathtrap” centers around down-on-his-luck playwright Sidney Bruhl (Daniel Cantor), who is hungry for another Broadway hit thriller after four consecutive flops. Bruhl is so desperate that he even considers murder when the amazing submitted play “Deathtrap,” by the young novice writer Cliff Anderson (Aaron Latterell), falls into his lap. Sidney's wife, Myra (McKinley Carter), is not at all happy about this, and she does her best to steer her husband into a collaboration with Cliff and away from his deadly suggestions.
Much of the early part of “Deathtrap” is setup, and, under the fine direction of William Osetek, this trio does a magnificent job making the potentially stilted dialogue flow naturally. The three are also very physically adept when the action gets ratcheted up, especially when they get put through the paces of Matt Hawkins' alarming fight choreography.
I won't reveal any more plot, since it would spoil all the sinister and underhanded surprises.
But mention must be made of the great comic relief offered up by the visiting Dutch crime psychic Helga ten Dorp, hilariously performed by Cindy Gold with guttural ESP visions that suggest bowel movements. And in the small role of the neighboring attorney Porter Milgrim (a perfectly patrician Marty Lodge), the second-act machinations are given a crucial kick-start.
Director Osetek and his design team go all out for the luxury look of “Deathtrap.” In particular, set designer Jeff Kmiec creates an enviable converted-stable Connecticut home that anyone would love to add to their real estate holdings (save perhaps for all the deadly weapons displayed everywhere). The tense mood is also heightened by the great thunder-and-lightning collaborative work of lighting designer Heather Gilbert and sound designer Ryan Hickey, who deploys plenty of cheeky musical selections to firmly root the show in the '70s and to comment on all the dastardly deeds being done.
Even if you're already familiar with the shocks of “Deathtrap,” it's still tingling fun to second-guess when they will occur and to see how unsuspecting audiences react. Drury Lane deftly pays homage to the once staple genre of Broadway thrillers, making “Deathtrap” must-see theater, indeed.
“Deathtrap”
★ ★ ★
<b>Location:</b> Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, (630) 530-0111 or <a href="http://drurylanetheatre.com">drurylanetheatre.com</a>
<b>Showtimes:</b> 1:30 p.m. Wednesday, 1:30 and 8 p.m. Thursday, 8 p.m. Friday, 5 and 8:30 p.m. Saturday, 2 and 6 p.m. Sunday; through Aug. 14
<b>Tickets:</b> $45-$60
<b>Running time:</b> About two hours, 25 minutes with intermission
<b>Parking:</b> Free adjacent parking complex
<b>Rating:</b> Some mild profanity and shocking bursts of violence and murder