Stage Review - The Mousetrap (SecondStory Rep)
Stage Review - The Mousetrap
Presented By: SecondStory Repertory - Redmond, WA
Show Run: October 31 - November 16, 2025
Date Reviewed: Sunday, November 08, 2025
Run Time: 2 Hours, 10 Minutes (inclusive of a 10-minute intermission)
Reviewed By: Greg Heilman
With its latest production, Agatha Christie’s legendary whodunit The Mousetrap, SecondStory Repertory delivers a crisply executed chamber mystery that remains sharply entertaining while honoring the tradition of the original. First staged in 1952, The Mousetrap holds the distinction of being the longest-running play in the world—a cornerstone of theatrical history that has kept audiences guessing for more than seventy years. Directed by Doug Knoop, this version welcomes audiences into a snowbound guesthouse at Monkswell Manor, where secrets lurk behind polite smiles and everyone is a suspect.
The plot begins simply enough: newlyweds Mollie and Giles Ralston have just opened their country guesthouse to travelers when news breaks that a murder has occurred in London. As their first guests arrive—each with their own peculiar habits and evasions—it becomes clear that the killer may be among them. A detective arrives, the house is snowed in, and the question becomes who can be trusted and who will be next. It’s classic Christie, a structure that still works because it’s built on careful pacing, character interplay, and the thrill of uncovering motives one layer at a time.
This production understands that The Mousetrap is, at its core, a play about rhythm and flow — and that’s exactly what it achieves. Doug’s pacing allows each new revelation to land with purpose, and the set, designed by Mark Chenovick, is arranged perfectly to support that movement. The deep browns, burgundy, and dark wood furnishings immediately pull the audience into the manor’s world — warm and rich, yet tinged with claustrophobia. It’s a space that feels comfortable but confining, perfect for a murder mystery that depends on tightening walls and mounting suspicion, and typical of the quality of Mark’s production designs at SecondStory.
The ensemble cast is replete with actors who portray the myriad of personalities very well. This starts with the Ralstons. Elizabeth Ogle gives a charming and grounded performance as Mollie, leaning into her youthful energy and moments of quiet worry as the pressures of running the guesthouse — and of maintaining secrets — begin to weigh on her. Opposite her, Michael Makar’s Giles feels suitably stuffy and guarded, his nervous energy well suited to a man suddenly uncertain whom he can trust. Meanwhile, Max Lopuszynski’s Christopher Wren, the architect that isn’t particularly what he seems, is flamboyant, jittery, and full of childlike enthusiasm, bringing an immediate spark of chaos to the early scenes, especially in Wren’s role of disruptor in Mollie and Giles’ relationship. Max’s performance of a scene opposite Elizabeth’s Mollie in Act 2 deserves particular attention. It’s a conversation that is beautifully handled, revealing a flash of deep emotion when a piece of Wren’s backstory surfaces and Mollie is in the throws of doubt and distrust. It’s a highlight that contrasts these characters’ personalities, turning Wren from jovial and flamboyant to serious and contemplative and Mollie from innocent to something more complex in thought and emotion.
Not to be outdone, Daniel Wood’s uninvited Paravicini brings the right touch of sly humor and old-world mystery—his “man of mystery” energy is exactly what the role demands as he constantly spins the group into a confused and suspenseful frenzy. At the other end of the spectrum is Jan Dunlap’s Mrs. Boyle, all clipped precision and complaint, every bit the stickler for propriety, Jillian Faulk’s enigmatic Casewell, whose personality fits perfectly into the play’s puzzle-box design, and Eric Hartley as Major Metcalf in a performance that anchors the ensemble with solid posture and an authoritative calm that makes him both reassuring and suspect. Rounding out the cast is Adam Granato as Detective Sgt. Trotter. Adam turns in one of the show’s most confident performances; his accent is consistent, and his delivery crisp and commanding, embodying both competence and curiosity as he unravels the case.
The ensemble as a whole works with impressive unity. The beauty of Doug’s direction here is how he allows each actor to find the small freedoms within Christie’s archetypes to give individuality without breaking tone. Accents remain consistent throughout, and Doug allows enough breathing room for humor without sacrificing suspense.
The technical elements do their share of storytelling as well. Lighting and sound are skillfully employed — from the sharp gust of wind whenever the door or window opens to the period-accurate crackle of the radio, every cue feels intentional. The props, from skis to radios to small household items, lend authenticity without clutter, and the musical underscoring feels cinematic — adding tension and atmosphere without overpowering dialogue — and its transitions are balanced at just the right volume.
The Mousetrap at SecondStory Repertory is an engaging blend of classic structure and finely tuned ensemble work. It honors Christie’s legacy while feeling alive in the present moment—a testament to what can be achieved when direction, design, and performance all move with purpose. For Puget Sound-area audiences, it’s an invitation to sit back, play detective, and enjoy one of theatre’s most enduring mysteries. Just remember: once the curtain falls, keep the ending to yourself.
The Mousetrap runs on stage at SecondStory Rep in Redmond through November 16. For more information, including ticket availability and sales, visit https://www.secondstoryrep.org/.
Photo credit: Michael Brunk (NW Lens)
