Agatha Christie’s masterpiece, “Trap for mice” arrives at the Politeama Rossetti in the new translation of a well-known Italian author, such as Edoardo Erba, in the biting and attentive direction of Giorgio Gallione and with a protagonist with a marked and eclectic talent as Lodo Guenzi: the Prose season of the Teatro Stabile del Friuli Venezia Giulia thus reaches its second appointment from Thursday 10th to Sunday 13th November.

A large and welcoming English country house has been transformed into a welcoming inn: and the owners are waiting for the first guests.

Some strange characters arrive, starting with Christopher Wren, a childish young man, then Judge Mrs Boyle and Major Metcalf, a retired policeman. There are also a business woman – Miss Casewell – and Mr. Paravicini. It could be a quiet opening day, if a blizzard doesn’t hit it and leaves the inn completely secluded. And soon the phone will stop working too. Only the radio continues undaunted to report the news of a murder that took place in London: a psychopath has killed an elderly lady and is threateningly around, free. The tension begins to rise between customers and owners: each of the guests seems to hide some skeletons in the closet. Fortunately, a young detective from Scotland Yard, Sergeant Trotter, who is supposed to protect everyone from the insane killer, makes his way through the snow until he is captured. But the first twist comes with the killing of Mrs. Boyle, right in the house. Who will be the culprit? and which one is the next victim?

“All of us as children have suffered trauma, small or large, it is inevitable and we are all potential killers, potential culprits, or conniving,” reflects Lodo Guenzi, who plays Sergeant Trotter. “This is the really current and interesting thing about this text, especially in a society that today, for a very commercial form of clearing the conscience, decides to clearly separate the guilty from the victims. “Mousetrap” tells us that even if a murderer actually exists, those present on the scene are not entirely innocent ».

Giorgio Gallione echoes him: “Now it’s up to us, Trap for mice ”has an iron and pressing plot, is steeped in suspense and irony, and is inhabited by characters who are never just silhouettes or gender stereotypes, but bizarre and ambiguous creatures. I believe that the characters of “Trap” are obviously born in their era, but they are alive and representable today, because the conflicts, the existential wounds, the secrets that each of them explicit or hide are those ofcontemporary man, dellI divided, of the unconscious madness ».

The new edition of the show has many strengths to become a “spectator trap”, as has been the case for over seventy years in London with the original Guinness show: staged on 25 November 1952 at theAmbassadors Theater, has never stopped repeating and only the pandemic has forced it – like all the shows in the world – to a stop after which, from May 2021, the performances have continued regularly, welcomed by the usual “sold out”. The record and constant success make “Mouse Trap” one of the most emblematic shows of the London theater.

Thursday 10th November at 18 hours at the Bartoli room will be held there opening speech dedicated to “Mousetrap” edited by Professor Peter Browndirector of the British School of Friuli Venezia Giulia: admission is free subject to availability of places.

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