Classic Thriller Season Deathtrap at Nottingham Theatre Royal Review
DISCLOSURE – TICKETS TO SEE THE SHOW WERE GIFTED TO THE REVIEWER AND GUEST FOR THE PURPOSES OF WRITING THE REVIEW
Reviewed by Alexander Wilde
Synonymous with summer and a staple of East Midlands theatre, the acclaimed ‘Colin McIntyre Classic Thriller Season’ assuredly returns to Nottingham’s Theatre Royal with three fantastic plays. Second in the line-up is the twist-filled ‘Deathtrap’, brought to the stage by the talented Tabs Productions team. A spoiler free review of opening night follows.
Written by acclaimed novelist-playwright Ira Levin (Rosemary’s Baby, The Stepford Wives), ‘Deathtrap’ is a razor-sharp two-act play that takes a wicked delight in twisting both plot and expectation. Billed as a “comedic thriller,” this production leans more into psychological suspense than slapstick – especially in its gripping first act – but the wry humour still creeps through, particularly in the form of a flamboyant psychic and the occasional macabre aside.
Andrew Ryan delivers a commanding performance as Sidney Bruhl, a once-successful playwright now desperate for a comeback. Sidney’s charm is as polished as his malevolence is lurking, and Ryan walks that tightrope expertly. His chemistry with Sarah Wynne Kordas (playing the delicate yet perceptive Myra Bruhl) is compelling and layered, capturing both a long-standing marriage and the creeping unease within it.
Pavan Maru, as young playwright Clifford Anderson, continues to impress. After last year’s Constable Thompkins, he takes on a very different role here: charismatic, ambitious, and full of secrets. Maru’s energy on stage is perfectly matched with Ryan’s, and the verbal and physical sparring between the two is sharp and crackles with tension.
Comic relief arrives in the form of Susan Earnshaw’s Helga Ten Dorp – a Dutch psychic who breezes into the plot with visions, warnings, and some of the biggest laughs of the night. Earnshaw clearly revels in the role, bringing wide-eyed eccentricity and excellent timing. Jeremy Lloyd-Thomas rounds out the cast as lawyer Porter Milgrim, grounding the more outrageous moments with steady presence, plot points, and subtle wit.
The action unfolds entirely in Sidney’s study – a rich, woodland cabin affair lined with theatrical weapons (some more deadly than others) and framed posters from past stage successes. The late-1970s setting is captured convincingly through costume and props, and the set design cleverly reinforces the play’s central themes: deception, performance, and lurking danger.
What makes ‘Deathtrap’ so satisfying is its ability to wrong-foot the audience without ever losing credibility. Every twist, and there are many, is earned, and the pacing never falters. Just as you think you’ve got the measure of the characters, another layer is pulled back and loyalties shift. The direction (by skilled-company hands Karen Henson) ensures the story unfolds with mounting suspense and the occasional gasp from the audience.
Long-time fans, of the Classic Thriller Season will find plenty to enjoy here; just as will those who are trying something new. While this entry may be darker than last week’s overt farce (I do love an Inspector Pratt whodunit!) it showcases the Tabs company’s range and versatility. The cast are clearly having a ball, and their chemistry, particularly in the more dangerous scenes, is palpable.
‘Deathtrap’ is a deliciously clever thriller that isn’t afraid to play with the audience as much as its characters play with each other. If you like your mysteries twisty, talky, and tinged with menace, then this one’s for you.
Rating: 4/5
Tickets are fantastic value, starting at £19.50.
On stage from 19-23 August 2025, for more information or to book tickets visit trch.co.uk or call the box office on 0115 989 5555
Theatre Royal & Royal Concert Hall, Theatre Square, Nottingham, NG1 5ND
The splendorous, Victorian Theatre Royal, and neighbouring Royal Concert Hall, stand within a clean, well-lit, and popular area of the city centre which has benefited from extensive regeneration and considered transport links. The Theatre is surrounded by a range of bars, restaurants, and entertainment options for a wonderful night out in the bustling city. Arriving by car, routes to the theatre were well signposted and nearby parking was plentiful.
The main foyer is elegant and spacious, with a recently renovated bar. You are sure of a warm greeting and a great atmosphere. The bars/concession stands are well manned, stocked and of standard prices for theatres. I have sat in both stall and dress circle seats; both are comfortable and provide excellent views of the stage.