In a thrilling blend of suspense and dark humour, MADC's latest production of Deathtrap, directed by Joe Depasquale, masterfully draws the audience into a twisting narrative of deceit, ambition and murder. Held at the MADC Playhouse in Santa Venera, the play maintains a brisk pace across its two acts, with a tightly woven plot that continually shifts expectations, and loyalties,
The play, penned by Ira Levin in 1978, remains a timeless piece of theatrical trickery. The story follows once-successful playwright Sidney Bruhl, played with compelling cynicism and charisma by Richard Godden, as he grapples with writer's block and professional decline. When a brilliant new script arrives on his desk - penned by former student Clifford Anderson - Bruhl contemplates a murderous plan to steal it, with the reluctant support of his anxious wife, Myra.
Godden delivers a commanding performance as Bruhl, portraying the writer's emotional descent with controlled precision. From charming manipulator to calculating schemer, Godden's portrayal never slips into caricature. He allows the audience to both admire and mistrust him - a key ingredient in a production that thrives on ambiguity.
Giselle Borg Olivier, as Myra Bruhl, offers a strong counterbalance to Sidney's cold ambition. Her portrayal is both emotionally grounded and delicately paced. Olivier conveys Myra's increasing distress with subtlety, her eyes constantly scanning for signs of danger. The chemistry between Godden and Olivier feels authentic, lending credibility to their strained marital dynamic and heightening the tension that bubbles under the surface.
Adrian Farrugia's Clifford Anderson is a revelation. As the young, enigmatic protégé, Adrian layers charm with menace. His transformation as the plot unravels is executed with flair and finesse. Clifford's motivations are never quite clear - and Farrugia's performance thrives in that grey area, keeping the audience guessing until the final moments. His energy is infectious, and his interplay with Godden is particularly captivating in the play's more intense, physical moments.
Adding a welcome dose of eccentricity is Angelica Sant as Helga ten Dorp, the psychic neighbour whose odd premonitions and comedic timing offer a brief but effective release from the mounting tension. Sant embraces Helga's quirks without overplaying them, and her appearances serve as clever pivots in the narrative, subtly guiding the audience towards, or away from, the truth.
Rounding out the cast is Eoin Kennedy as Porter Milgrim, Sidney's lawyer and long-time confidante. Though his role is comparatively smaller, Kennedy makes the most of it, exuding steady calm in a sea of chaos. His presence in the final scenes adds a satisfying sense of closure.
Depasquale's direction is meticulous. He demonstrates a strong understanding of the play's rhythm, allowing scenes to breathe without losing momentum. The staging is deceptively simple, set almost entirely within the Bruhl's Connecticut home, yet it never feels static. Subtle shifts in lighting and blocking mirror the characters' emotional journeys, and moments of silence are used to great effect - each pause heavy with implication.
The set design is a triumph in its own right. The study, littered with theatrical weapons and mementos of past successes, serves as both a literal and metaphorical trap. Every detail, from the mounted crossbow to the antique typewriter, contributes to the atmosphere of looming danger. The use of lighting and sound design heightens this further - thunder crashes, ominous silences, and flickering lamps all play their part in sustaining suspense.
One of the greatest challenges in staging Deathtrap is managing its many twists and ensuring the audience doesn't feel manipulated. This production meets that challenge head-on. The reveals feel earned, the pacing taut, and the meta-theatrical elements (especially in the second act) are handled with intelligence and restraint. While those familiar with the play might anticipate some of the surprises, the performances are so engaging that the journey remains thoroughly enjoyable.
Where this production truly shines is in its tonal balance. It doesn't shy away from the play's campy, tongue-in-cheek elements - particularly in the banter between Sidney and Clifford - yet it never undermines the stakes. Death, betrayal, and ambition are treated with gravity, even as the audience chuckles nervously in the dark.
In a theatrical landscape often dominated by reboots and modern reimaginings, Deathtrap stands out as a reminder of the power of classic suspense done well. It is a play that demands strong actors, a director with a clear vision, and a crew capable of crafting atmosphere as much as action. Thankfully, MADC has all three in abundance.
The packed auditorium and strong applause at curtain call said it all. This is theatre that grips, entertains, and lingers in the mind long after the final blackout. Whether you're a lover of thrillers or simply enjoy a well-crafted, well-acted night out, Deathtrap is a must-see.
Photos: Josmar Muscat