……as my show enters its last weekend. The last few weeks have gone by in a blur and it seems inconceivable that there are only three performances left. Each performance led to something new in my character, a discovery of her humanity and motives. Although it’s not written in the script, I felt an underlying sense of guilt and fear that drove her to her final destination. There were specific lines that alluded to her distress, but the nature of her personality drove others away from her, a self-defensive measure on her part.

This show, The Mousetrap as written by Dame Agatha Christie (adapted from her short story Three Blind Mice, which in itself is adapted from the radio play written in honor of Queen Mary’s 80th birthday), premiered in London in 1952. It has continued to play in front of audiences, celebrating its 64th anniversary this year in the same theater.

It has been a privilege and a joy to work with my fellow cast mates, who have provided a lot of support and laughter in the last few weeks. I am grateful to my director, for casting me in this part, for reasons I mention in a previous post. I had the best stage manager and costumer and producer to help shape, guide and fashion us into a wonderful presentation.

For their privacy, I will not identify them or post their pictures – I feel I need to ask their permission.

But I will leave you with a photograph of our set, where we played out our parts and made our discoveries and connections, both within the context of the play as our characters and outside the play, as actors, as friends, as comrades in arms.

The set of Monkswell Manor, from The Mousetrap, by Dame Agatha Christie.
The set of Monkswell Manor, from The Mousetrap, by Dame Agatha Christie.
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