Theater Review

Tom Titus

Few playwrights have excoriated their own profession as thoroughly as Ira

Levin in “Deathtrap.” In this slyly literate thriller, Levin combines the

sophisticated comedy of his “Critic’s Choice” with the abject terror of

another of his works, “Rosemary’s Baby.”

“Deathtrap,” now on stage at the Costa Mesa Civic Playhouse, focuses on a

playwright whose creative well has run dry, leading him to plot a

real-life murder to gain control of a scintillating script sent for his

approval by a student from one of his playwriting seminars.

Or so it would seem. Levin’s world isn’t quite that neatly cut and dried,

and to expound on the topic would compromise the pleasure of first-time

audiences. Suffice to say that director Todd Kulczyk’s well-paced

production pushes the terror and comedy buttons efficiently.

Efficient also is the manner, in which Kulczyk has eliminated one of the

play’s minor characters, the playwright’s lawyer, culminating in an

ending far more slickly satisfying than the original, where the lawyer

and a neighboring psychic face off over the same basic issue that created

the first confrontation.

The key element in the production of “Deathtrap” is the effectiveness of

its leading figure, playwright Sidney Bruhl, who virtually masterminds

the play’s events, while piercing all around him with the acerbic wit of

a George Sanders. Here the Costa Mesa production truly shines.

Forrest Robinson exudes a savage sense of egocentricity as he draws his

reluctant wife into his murderous scheme. Although Robinson initially

serves up a large slice of ham, which requires some digesting, he settles

comfortably and commandingly into his role, gleefully projecting his

superiority over the student, in what basically is a benefit performance,

for the intended victim.

As the young man drawn to his former professor for professional advice,

Ryan Jacobson offers a convincing acolyte and an even more impressive

rival. The conflict, both mental and physical, between the two is

splendidly conveyed.

Roxie Lee renders a properly tentative performance as the wife,

overshadowed by Robinson’s forceful eloquence, yet steadfast in her

opposition to his scheme.

The role of the Dutch psychic, normally assigned to a much older and less

physically attractive actress, is surprisingly well handled by Janet

McGregor. Tall, blond and quite lovely, McGregor attacks the European

accent with gusto, reveling in the necessarily one-note aspect of her

character.

Set designer David Carnevale emphasizes the walls decorated with weapons

from Bruhl’s past production by alternating strips of setting with only a

curtain backing, perhaps stressing the theatricality of the piece.

Jeffrey George’s lighting is well appointed.

“Deathtrap” by its very nature is best enjoyed as a first-time viewer,

though subsequent productions offer more insight into Levin’s fertile

imagination. Directors, when altering elements of it, however, must take

care to eliminate references to excised techniques, an oversight in the

local production.

CUTLINE: Forrest Robinson (left) and Ryan Jacobson clash over the subject

matter of their new play in “Deathtrap” at the Costa Mesa Civic

Playhouse.

WHAT: “Deathtrap”WHERE: Costa Mesa Civic Playhouse, 611 Hamilton St., Costa Mesa

WHEN: 8 p.m. Thursdays through Saturdays, 2 p.m. Sundays through Nov.

7HOW MUCH: $10 and $12PHONE: (949) 650-5269