Review: Berkshire Theatre Group, "The Mousetrap"

Berkshire Theatre Group, Pittsfield, MA

www.berkshiretheatregroup.org

July 24 through August 17, 2025 

by Shera Cohen

It's been a long time since any theatre venues in the Berkshires has mounted “The Mousetrap,” which is all the more reason to become an audience member. Statistics state that “The Mousetrap” is the longest-running play in theatre history. There must be reasons for that huge success.

Agatha Christie’s “The Mousetrap” is the epitome of foremost classics in the murder/mystery drama genre. The esteemed author penned a total 66 “whodunits” over the course of seven decades. The author accentuates suspense among a motley group of characters assembled on stage and their audience. The more the script is populated, the more possibilities as to who murders who, and the more work to try to figure out.

Photo by Caelan Carlough

Usually, Christie’s mysteries take place on one set, depicting a large living room in a posh home, remote from all other life, on a dark and rainy/snowy/foggy/whatever/etc. night. In other words; bleak weather conditions force a  group of characters, most unknown to the others, to assemble in one setting. The premise works exceedingly well, which is likely why the author duplicated it often. 

Scenic Designer Bryce Culter literally sets the stage a plush red and gold taking every inch of length and width; at the center, raised, is the constant image of the evening’s weather foreboding atmosphere. A young married couple run this bed ‘n breakfast-like home. Christie’s formula is to introduce an increasing number of characters into the settling, none of whom know each other. Yet, one of characters is bumped off.

While the plot might have been new in the 1950’s when Christie wrote “The Mousetrap,” the theme has become familiar in today’s TV shows and movies. The story encourages the audience to continuously guess who the culprit is.

Director Gerry McIntyre could have, and should have, saved his production from workmanlike characters, movement, and pace with puns and pratfalls to make “Mousetrap” flat out funny. Yes, there are some moments in Act II when the audience laughs, but these are few. Each actor might have depicted a level of humor or quirkiness. Greg Cuellar, the only actor given this opportunity, scene-steals but only in a good way, if that’s possible.

The director seems to hold back numerous production elements that may well have lifted the play off the printed page and into the mouths of the characters; not to make them real, but more importantly, to make them funny caricatures. 

Seeing “The Mousetrap” on the third day of the production is, of course, the time to see flaws. Two suggestions would be 1) to speed up the conversations, and 2) to let several of the actors ham up their characters.