The Rat Trap Review: Teenage Coward's Bitter Marriage Portrait
Park Theatre in London presents a compelling revival of Noël Coward's rarely performed early work, The Rat Trap, reimagined by playwright Bill Rosenfield. This production offers a fascinating glimpse into the young playwright's developing voice, exploring themes of artistic ambition and marital discord that would later become hallmarks of his career.
A Youthful Exploration of Marital Strife
Written when Coward was just eighteen years old at the end of the First World War, though not staged until 1926, The Rat Trap presents a surprisingly jaundiced view of marriage. The play follows newlywed writers Sheila and Keld as they navigate the treacherous waters where domestic bliss meets artistic ambition. Rosenfield and the enterprising Troupe theatre company have streamlined the original plot and dialogue, creating a more accessible version while maintaining the work's essential spirit.
The production draws clear parallels with the works of Ibsen and Strindberg, particularly in its exploration of gender dynamics within marriage. While Coward would later develop his signature chrome-plated wit and sophisticated banter, this early work shows him grappling with darker themes of compromise and sacrifice in relationships.
Compelling Performances Illuminate Troubled Characters
Lily Nichol delivers a nuanced performance as Sheila, the more talented writer who gradually relinquishes her ambitions to support her husband's career. Her physical transformation throughout the production is particularly striking, moving from vibrant bohemian confidence to subdued restraint as her character's light dims. The costume design by Libby Watson effectively supports this journey, with Sheila's initial art deco curves giving way to politely pressed pleats.
Ewan Miller portrays Keld with unflinching honesty, capturing the character's self-regard and growing insufferability. His performance reveals a second-rate talent who becomes increasingly bullying and unpleasant, particularly in his treatment of the shrewd housekeeper played excellently by Angela Sims. The supporting cast, including Gina Bramhill as a perceptive singleton and Zoe Goriely as a spiteful minx, provide valuable perspectives on the central relationship's dysfunction.
A Production That Respects Its Source Material
Director Kirsty Patrick Ward handles the material with tenderness, particularly in its portrayal of misery, though the production struggles to elevate the play's inherent bickering comedy. The Troupe theatre company makes a staunch case for this youthful Coward effort, demonstrating how the playwright sharpened his claws on these themes before developing his more sophisticated later works about intractable desires.
While Coward himself suggested the play would only interest ardent students of his work, this production reveals unexpected depth in his early exploration of artistic and romantic compromise. The unexpected ending provides little uplift, remaining true to the play's fundamentally bleak outlook on marriage among creative types.
The Rat Trap continues at Park Theatre in London until 14th March, offering theatregoers a unique opportunity to witness Coward's developing voice and Troupe's committed interpretation of this rarely seen work.
