The Mousetrap
The Mousetrap by Agatha Christie
Openstage Theatre & Company - Fort Collins, CO - 2026
Directed by Heather Ostberg Johnson
Scenic Design by Ivan Andrade
Prop Design by Brenna Freestone-Gilbert
Costume Design by Kari Armstrong
Lighting Design by Mackenzie Lowe
Photography by Sarah J Baker
Sound Design by Joshua Moore
The Mousetrap is a classic murder mystery play that questions how well you know the people you love and who you can really trust. After a woman is strangled in london, guests at Monkswell Manor find themselves trapped by a blizzard and wrapped up in a murder case. They must consider who amongst them they can trust and how they can protect themselves before it is too late. The Mousetrap is a world renowned play and as of the time of this production is the longest running play of all time, playing consecutively on the West End since 1952.
The primary focus of the sound design was to immerse the audience, as well as the performers, into the atmosphere of Monkswell Manor. Six Sound Effect speakers were hidden within the set to localize sound effects throughout the house including a Fireplace, a Grandfather Clock, a Radio, and outdoor sounds from windows and doors. All of these sound effects were triggered off performance on stage, such as actors stoking the fire, and turning on and off the radio. This brought realism to the soundscape and grounded the sounds in the acting on stage.
Second, we wanted to use Sound Design as the murder weapon. The killer was able to utilize open windows and a blaring radio to cover their tracks, and bring a level of stylized drama to intense moments. Finally, we wanted to tie back to the plays origins as a radio drama by staging the opening and closing with elements of radio plays. This grounded the play in its history, and allowed us to show key historical elements from Post WWII England into the ethos of the play.
Radio Sound Effects
Throughout the design the director and I explored ways that the Radio could act as a murder weapon. In our staging, the murderer uses the radio both as a distraction, and to cover up their tracks. We also utilized the radio to underscore moments throughout the show and had the characters, particularly Mrs ralston, interact with the radio through various sound effects.
In the play, a BBC newscast plays a warning of both the weather to come and the murderer on the loose. In this scene, Molly ralston is listening in, but turns off the radio after the first guest rings the doorbell. VO by Bradley Calahan.
Later in the show, the murderer tunes the Radio before another attack. This radio tuning sequence featured period music, as well as a period BBC Newsreel from the era. These were featured throughout the show in tuning sequences to help set the period.
At the end of Act 1 the murderers first victim turns on the radio and listens to a radio drama before she is interrupted. We had Bradley Calahan record this VO as well and I composed the string underscoring, as well as added some sound effects at the end.
This is the full tuning sequence at the end of Act 1. It starts with the victim choosing a station, and then as she is getting attacked the station changes to a dark and intentionally distorted Stravinsky song that transitions to intermission. Featured music includes "Snakehips Swing" by Ken Johnson and "The Infernal Dance of King Kashei" from Igor Stravinsky's "The Fire Bird Suite", as well as the prior Radio Drama clip.
