Having just finished ROSEMARY'S BABY last week and THE EXORCIST yesterday, I was still in the mood for mystery but in a lighter shade. This one delivered. I snort-laughed out loud quite a few times and enjoyed the back-and-forth epee-style banter between Sidney and Clifford. Of course, we all know what the murders are for, right? The classic reason(s). #nospoileralerthere I enjoyed it immensely as my afternoon read by the fireplace. Now, I'll have to see the movie and the movie SLEUTH. And Michael Caine stars in both of them. Who knew? #maybethepsychicintheplay ( )

This is the first play I've read in ages, and I enjoyed it. The difference between a novel and a play is paramount here – there is no backstory. Everything happens in real time, which is a blessing and a curse. I would have liked to have known the beginnings of the relationship between two of the characters. Unfortunately, almost anything I write, more than that, is a spoiler, and I don't do those. Let me just say that I would have enjoyed seeing this play performed, as I did Sleuth and The Mousetrap. It has too much of the Seventies inherent to be performed today, I think, but back then it would have been stunning. ( )

A play-within-a-play, Deathtrap is a classic play-within-a play, which keeps readers wondering what's real and what's pretend. The occasional humor and the psychic living nearby augmented my reading enjoyment. However, the second act was one scene too long (of three.) ( )

A well developed mystery play with a twist, though I must say I liked the twist ending in the movie somewhat better. Overall, an easy read, plenty to enjoy, and interesting as a study in how the structuring of plays is changing. Since this play was written, we have moved toward a much sparser, for better or worse, description of what is to happen. The set descriptions were elaborate and detailed, as were descriptions of what characters did and how they did it. I am still trying to decide if I find that more effective or the modern way; the elaborate set descriptions can make it somewhat easier to read, as you have an idea what is happening in a way you don't in a play where the setting just says "den" and then you have a string of dialogue. And I suspect it makes the play a little more director proof, since it lets the director know specifically what you want, instead of going off into some weird interpretation that matches nothing the playwright dreamed of. So, interesting, well written, and thought provoking. ( )

Borrowing from the Bard, Deathtrap is a play within a play, cleverly constructed and executed. Loved it from start to finish. ( )