The Mouse Trap Play
Agatha Christie wrote many novels, and according to the natural law of successful writers, that means adaptations. But, in contrast with other success stories, those adaptations appeared almost immediately after the original's publication in play form. One of those plays is the longest-running play of all time (Longest running as in longest consecutive renditions in the same location): The Mousetrap. Its success is not due solely to Christie’s notoriety; it has varied merits that set it apart for the theater-going crowd of the early 1950s. The setting is robust, with plenty of ornate detail to enhance the actors' stage presence. The contextual strength is further enhanced by the contrast between a particularly cruel villain and a warm, cozy setting.
Another massive difference from other mystery dramas of the time was the way the murders were portrayed. In most dramas, deaths would happen out of sight, and then the audience would only see the discovery of the victim. The reason this was necessary was to conceal the murderer until the reveal, as even if the face is hidden, the identity can still be discerned from the body shape. In The Mousetrap, the murders are heralded by the murderer whistling the tune of "Three Blind Mice,” before the stage darkens. In the dark, the movements of desperation are still visible, intensifying the audience's tense oppression. This device for stage lighting takes full advantage of the theater's different strengths.
A second element present in plays but absent from plays is animative detail. The rate of breathing, movement of hands and feet, and even the posture of different characters is a thousand times more visceral on stage than on the page. This is not coincidentally also channeled effectively in The Mouse Trap, particularly in the case of Christopher. Christopher is an enigmatic man who speaks quickly and engages in dynamic dialogue that naturally leads to expressive movement. The play also takes advantage of the absence of such defined features, as Mrs. Boyle is the kind of character who rarely varies her facade. On stage, their physical contrast also serves another purpose: they represent the two extremes of British society and, as a result, anchor the play within the layered complexity of British sensibility. Without the two examples Christopher and Mrs. Boyle pose, it would be much harder to grasp why secrets are an acceptable part of British culture.
The detective is faced with a very uncooperative cast. Each innocent person is willing to risk everything to hide an unrelated secret, some of which are never revealed. They are all clearly afraid of some unveiling, and it is up to the perceptive audience whose fear is related to murder, and there are distinct clues that can only be drawn from this form of deduction. This focus on primal emotion recognizes that abstracts and the spiritual are more suited to literature, and organizes the characters' musings around emotion.
The ending is simple, yet it demonstrates how cleverness is both a great strength and a fatal flaw. The solution is effective and dynamic, with the primary clue appearing much sooner than is typical, leading to many chances of second-guessing.
The Chase Verdict, though I myself have not seen the play, is that the script is indicative of an enjoyable experience. That script is a dynamic read in its own right and is lightly recommended.