Queen’s Theatre Troupe (QTT)’s production of Deathtrap demonstrates suspense and comedy as complementary theatrical forces, not opposing ones.
Running from March 24 to 28 at the Tett Centre’s Rehearsal Hall, QTT’s production of Ira Levin’s celebrated comedy-thriller, famous for intricate plotting and twists, finds new life in this ambitious student staging. Guided by co-directors Alfonsina Moreno, ArtSci ’27, and Mara Chiu, ArtSci ’27, both directing theatre for the first time, the production balances technical precision with confident performances, creating an evening that keeps audiences laughing one moment and holding their breath the next.
At its core, Deathtrap follows playwright Sydney Bruhl, a once-successful writer desperate for a comeback who discovers what may be the perfect script written by one of his students. Artistic envy quickly spirals into deception, manipulation, and increasingly dangerous schemes.
The play’s reputation rests on its twists, something QTT handles with admirable restraint, allowing revelations to unfold naturally rather than chasing shock value. Each turn lands cleanly, prompting audible gasps alongside bursts of laughter.
Part of the production’s success lies in preserving surprise. “No one really knows what it’s about,” Chiu said in an interview with The Journal. “We love to see people’s reactions. How everyone’s so surprised about everything.”
The production’s greatest strength lies in its performances. The cast demonstrates a clear understanding of Levin’s tonal tightrope, resisting the urge to play scenes purely for comedy or melodrama. Sydney, played by Gael Salas, ArtSci ’26, emerges as both charismatic and unsettling, grounding the increasingly outrageous narrative in believable motivation while his secretary and student Clifford Anderson, played by William Mercer, ArtSci ’26, emerges as an equally cunning and manipulative force.
Moreno credited the cast’s collaboration for achieving the show’s balance between tension and humour. “We have a really amazing cast,” she said in an interview with The Journal. Rehearsals involved continual discussions about “what things should be more comedic, and what things should be more serious,” allowing actors to shape performances while maintaining tonal clarity.
Design elements elevate the production. The lighting in particular was a standout aspect, playing a crucial role in shaping the atmosphere. The set is filled with lamps that provide a warm and inviting glow, while smartly executed stage lighting is used for moments of heightened drama.
The choice of venue also strengthens the production’s impact. Staged in the round at the Tett Centre’s Rehearsal Hall rather than a traditional proscenium theatre, the show makes effective use of the spaces’ hallways and depth. The directors intentionally sought a flexible staging environment to support unconventional blocking and movement, resulting in a show that feels both bigger than a typical play while also being more intimate.
Moreno explained the team wanted a space allowing a less conventional staging style, one capable of shaping “the environment of the vibe of the show.”
Despite logistical challenges, including limited rehearsal time in the performance space, the production feels polished and cohesive. Chiu noted the team first rehearsed in the venue only days before opening, requiring rapid adjustments to spacing and movement.
What’s most impressive is how seamlessly Deathtrap balances humour and danger. Comedy emerges in all the right places, allowing tension to build even during the play’s funniest moments. Audiences relax just long enough before the next twist tightens the screws again.
By the final revelation, the production has earned its impact through careful buildup. QTT’s Deathtrap succeeds not only as an entertaining thriller but as a hilarious comedy, demonstrating how strong performances, thoughtful design, and trust in the material can come together to create an exciting live experience.
Tags
Deathtrap, Queen's Theatre Troupe, student theatre, Theatre
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