"Deathtrap" by Ira Levin.

Colin McIntyre's Classic Thriller Season 2025.

Nottingham Theatre Royal.

This is the second instalment of this year's Classic Thriller Season, but as I was away last week, this is my first of this year's selection. Oh, how I did miss my favourite cast of thrillsters, but this week's production was well worth waiting for.

It's the story of a thriller writer, Sidney Bruhl, who is suffering from writer's block when a student, Clifford Anderson, who he met at a convention the previous year, asks his advice on a new thriller that he is writing called "Deathtrap". Bruhl decides that this is the sort of story to catapult him back into the spotlight and solve all of his money worries. Bruhl's wife Myra has reservations about the turn of mood shown by Sidney and tries to convince him that maybe a collaboration may the way forward for Bruhl and young Anderson.

Bruhl invites Anderson over to chat about the collaboration, but Bruhl is greedy and doesn't want to share and things take rather a violent turn for Anderson. But this isn't the only turn, as there are many turns and twists to come in this very entertaining comedy thriller.

We see three murders, and that's just in the first act, but is there a fourth but who is the last one standing? That's for you to come along and work out.

Sidney Bruhl is played by Andrew Ryan, who has the talent of looking sinister, with or without just a single spotlight on him. There's plenty of dark comedy with Bruhl, and you just don't know whether to believe what he says, well his wife certainly is in two minds! Andrew is one of the best character actors on stage; this character is right up there with his role of Mark Styler in "Mind Games" for unhinged crime writers.

Clifford Anderson is played by Pavan Maru. It seems longer than two years since Pavan joined the Classic Thriller Season, back in 2023, but this Leicester lad has come far, especially in this role. It's great to see him play a more meatier role and to have so much more stage time with this character. I've mentioned before about Pavan's ear for an accent, and we get to hear another American accent with Anderson. It's also quite notable to see Pavan's ability to play such a convincing younger character, Anderson must be late teens and Pavan presents this look perfectly.

Myra Bruhl is played by Sarah Wynne Kordas. I've also often said in my reviews that Sarah has a chameleonic ability about her; she morphs into a character and becomes unrecognisable. I never look at the playbills until maybe the interval, and I really did not recognise Sarah from this role due to the make up, wig and voice transformation. If I hadn't had checked the cast list, I'd have never known that Sarah was on stage. A marvellously nervous, almost skittish Myra was presented showing what great physicality Sarah injects into her character acting.

Wacky psychic Helga Ten Dorp is played by Susan Earnshaw. I was saying before the show that all Sue has to do is walk on stage and she makes me smile, and here is another one of those character roles that had the corners of my mouth curling up as Sue walked on stage. Amazing accent and such comedic quality.

Bruhl's legal man Porter Milgram is played by Jeremy Lloyd Thomas. Wonderfully stiff upper lipped role, which is a lovely contrast to the soft American accents of the Bruhls and Anderson. There's a hint of Milgram's money love in the first couple of minutes of his appearance, but that also goes hand in hand with the job title. And don't they say that there's a novel in every one? 

Directed by Karen Henson. The direction is so sharp, so precise and that sharpness is what makes this play such a joyously jumpy piece of theatre. The initial scene, assisted by some split second lighting effects, almost seems to make Sidney appear on stage by magic, and from there on in, the split second direction puts the class into Classic Thriller. Everything is superbly timed, from the delivery of the lines to the sound and lighting effects, just to make you feel as uneasy as possible.

Design by Conal Walsh. The scenes are all set in the study of Sidney Bruhl with blood red walls with just one signature green one. the props and set for Tabs' productions really are some of the best you'll see and the attention to detail for these sets are incredible. The pictures below will give you an idea of the work that goes into them.

Sound is by David Gilbrook. It's ditto from the above comments because I have never had cause to mention anything remotely negative about the sound, or light, for Tabs Productions. The cued sound effects are always right there when needed, providing some of the jump scare moments, especially with the thunderclaps and the sound stabs. It's almost like watching an ultra 3D, surround sound movie, especially with the clarity and timing.

Lighting is by Michael Donoghue. Tabs have many strengths - in fact I can't think of any weaknesses they have - and along with the sound, the lighting design is absolutely perfect. The timings of the thunder crashes and the lights dipping really do escort you to that uneasy place that Karen and the cast want you to not only see, but feel throughout their productions.

The costumes, especially Myra's and Helga's are excellent, as they always are in Tabs shows.

If you like a play that keeps you on the edge of your seat and makes you jump now and again, and is packed with plenty of twists and turns, then this is the one for you. If you're a regular Classic Thriller Season fan, you'll understand why I rave so much about their shows. If you've never been to one of their Thrillers - call yourself a Thriller fan? - then get yourself down this week for "Deathtrap" and next week for "The Business Of Murder" to see why I am such a fan of Tabs Productions and their amazing cast and creative team.

"Deathtrap" is at the Nottingham Theatre Royal until Saturday 23 August.