Dame Agatha Christie’s The Mousetrap is the world’s longest running theatre production. It’s been going for just over sixty years, has toured around the world and been met with critical acclaim wherever it goes. Now the production is on a new tour, directed by Ian Watt-Smith, and I’ve been lucky enough to catch it on its stop at the Grand Opera House in York.

In case you don’t know, The Mousetrap is a classic whodunnit, set in the 50s in an historic old house named Monkswell Manor. The Ralston couple (Anna Andresen and Nick Barclay respectively) have just moved in and have turned it into a bed and breakfast, and it isn’t long before guests start turning up. However, there’s been a murder nearby and there are reports that the killer is still out there. A sergeant inspector turns up in due course, and when there’s a new murder in the house, everyone comes under suspicion…

I won’t give any further details about the plot, as that’s what keeps The Mousetrap exciting year after year, and you’re told not to reveal the revelations and truths that come out at the end to keep the spirit of the play alive. It’s a clever, well-rounded narrative and has set the standard for generations of whodunnits to come.

But that’s not, in my opinion, what makes this production of The Mousetrap so engaging. No, that’s down to the beautiful characterisation from the whole company. Each character is distinctly different from the next, which helps to flesh out the world of Christie’s play. Every performance drips with control and detail, and we’re perfectly drawn into this world and the narrative that unfolds within it. Oliver Gully is particularly excellent as Christopher Wren, giving an often comedic reading of the character that adds some much-needed light to the suspenseful atmosphere. The same goes for Gregory Cox as Mr Paravicini, who pushes the buttons of several characters rather nicely during the course of the play.

The development of relationships throughout is also well-plotted, and the motives and intentions of characters are clear – and where they aren’t, that’s when we don’t know who to trust, and it’s an atmosphere that’s well-supported by the company throughout.

The set is reminiscent of typical end-on naturalistic dramas, harking back to the drawing and living rooms of Chekhov and Ibsen. A neat, ornate living room with various entrances and exits gives the impression of a house that holds as many secrets as some of its occupants. It’s unobtrusive and doesn’t pull your focus away from the characters and the unfolding of the plot. The same can be said of the simple lighting and sound, designed by Peter Vaughan Clarke and Richard Carter respectively; this isn’t a technically complex production, and it doesn’t need to be. It’s all about the narrative and the characters, and that’s what makes this production so famous and enjoyable.

This was the first time I’d seen The Mousetrap, and I’ve always wondered what the hype about it was. Now I see clearly what it’s all about – it’s a well-defined, confident piece of theatre that appeals to pretty much everyone. It’s not pretentious or egotistical in any way, which is surprising when you consider how long it’s been running. Instead, it does the job and keeps you guessing until the end, and makes for a wonderful and highly enjoyable piece of theatre.

The Mousetrap is playing at the Grand Opera House York until 27 February before contuining on its UK tour. For more information and tickets, visit the ATG tickets website.