Deathtrap

Reviewed by Holly Bartges

I had never seen Ira Levin’s Deathtrap, and after the Miners Alley production, it I never see it again, it will be perfectly OK by me.

Paul Page as Signey Bruhl and Daniel Langhoff as Clifford Anderson in the Miners Alley production of Deathtrap.

For a very simple reason.Anything less than the quality Miners Alley provides would be extreme disappointment.

Produced by Rick Bernstein, directed by Robert Kramer, within the confines of a magnificent set designed by Richard Pegg, topped off with a stellar cast featuring Paul Page, Lori Hansen, Daniel Langhoff, Mari Geasair, and Pete Nelson swimming in chemistry binding together the characters with streams of energy one can almost see, Deathtrap projects honest down to earth humor bent with caustic sarcasm, suspense leaving one breathless, and surprises jumping off of all four walls of the theatre.

Brazen, determined, arrogantly self-confident, striped with paranoia is how Sidney Bruhl (Page) faces the world. As a successful playwright, he lines his study walls with knives, swords, and torture trinkets used in a variety of his plays. Among his treasures hangs a pair of $1,200 handcuffs he insists belonged to Houdini. Page projects these Sidney qualities with every inch of his being. Page owns Sidney and Sidney owns Page.

Paranoid now with a smug streak because of a letter he received from a student who attended his summer seminar. Included in the letter is this student’s first script, and according to Sidney it is perfect. Jealousy and envy creep into Sidney’s persona. Currently in the middle of a dry spell, Sidney’s envy shatters his arrogance, He doesn’t have a clue about what to write, and this student bangs out a perfect script with one draft.

Supported by his wife Myra, each word of Levin’s intense script reflects through Hansen’s sculpted expressions. Reflecting every nuance as Sidney swerves through his arrogant feelings about who this student could be. Hansen becomes a living portrait of the playwright’s intent. A side-glance, daring stares, startled mouth, coaxing eyes, anxiety crinkled lines, turning Myra’s concealed concern into red flags.

All is not as it appears to be. Even though Myra’s red flags wave no definitive direction appears to give anything away.

As the student, Clifford Anderson, Langhoff wears him with eager-student anticipation. Casually dressed in jeans wearing an adoring excitement over meeting with Sidney, he appears to be who he says he is.

Myra insists upon staying with the two even though it is clear Sidney wants her to disappear, She’s knitting she says. The light is better in the study than anywhere else. She’ll be quiet she says, but taking everything on face value, her helpful suggestions become a source of irritation for Sidney and Clifford.

Geasair explodes onto the scene as psychic Helga Ten Dorp picking up energies that only baffle Sidney and Myra. Bursting with energy and lightning bolt eyes popping out of her head, Geasair provides an outstanding performance of believability. Colliding humorous antics with mystic senses, Geasair makes you believe Helga is for real, and she knows exactly what she is talking about. Frequently, psychics in plays tend to provide comic relief pointing toward something with a comedic flair.

Geasair indeed takes command of the comedic flair, providing a good many smiles and giggles. At the same time you believe and trust Helga. Geasair’s artistic ability shines through those glistening eyes. There’s strange energy in one spot on the floor, around the desk, and with Myra she sees a great deal of pain.

Pete Nelson wears the authority of Porter Milgrim, Sidney’s attorney, as though the character was designed especially for him. He mistakes Clifford as Sidney’s secretary, and the two conniving writers feed the lawyer’s misguided conclusions.

Just about the time, the characters get the audience comfortable with turns and wiggles of events, the script takes another upside down left hand turn revealing a completely new scenario. The characters you think you know become other beings that in turn become someone else who in turn take a double dip into their psyches.

Karalyn “Star” Van Lennep designed the lighting so effective it blends in with the smooth cycle of each definitive scenario.

Astonishing writing from Levin, Miners Alley wears the script with the finesse of the finest leather gloves ever to be found.

Sets are always designed to fit a given stage. A master of illusion, Pegg so designed the luscious set for Sidney’s study with its large ceiling beams and carefully constructed setting, the stage looks like it was built for the set. It immediately grabs its own attention, takes its bow then melds into the background as this magnificent cast showers the audience with a perfected performance that simply takes the breath away.

As all theatres were greatly affected by the December Blizzard, with deadlines and schedules, this cast and crew dug in their heels through the deep snow with strong determination to accomplish their goal. The result: a top-flight, award-winning production of Levine’s Deathtrap. Electrifying chemistry glues everything together from direction, set, lighting and sound, and mind numbing characters by five incredible actors.

In spite of the choices available throughout Denver’s artistic community, Deathtrap is absolutely a must see for every reason there is to see a play.