Now in its 74th year, The Mousetrap remains the world’s longest-running stage production. Since 1952, Agatha Christie’s classic thriller has captivated audiences with silent clues, shifting shadows and one of theatre’s best-kept secrets. In 2025, the play celebrated its 30,000th West End performance and received a Guinness World Records certificate for the longest theatrical run. Later this year, the production will mark its 75th anniversary with a UK tour.

In the current West End production, directed by Ola Ince, actor Cai Brigden plays Giles Ralston. We spoke to him about re-examining a theatrical institution, breaking long-standing traditions, and keeping tension sharp for modern audiences.

Q&A: Cai Brigden

Q: You’re currently appearing in The Mousetrap. How did this role come about?

A: I auditioned for it after seeing the play a few years ago. It hadn’t really been on my radar, but once I got a sense of the director’s (Ola Ince) vision, I was very interested. I could tell straight away that this production was trying to do something different.

Q: You’ve played Giles Ralston before in Austria. How does this version compare?

A: I enjoyed that production, but this feels very different. What excited me this time was the new take. There can be a tendency to think of the play as very “1950s”, where emotions are quite restrained, and this version moves away from that.

Q: What changes have been made to modernise the production?

A: Ola has worked closely with the Agatha Christie estate to tighten the script, reduce repetition and increase tension. She’s also drawn on details from Christie’s original radio play and woven those into the stage version, with the estate’s permission. That hasn’t been done before.

Q: Did the rehearsal process differ from previous productions?

A: Very much so. Traditionally, the show rehearses quickly and often directly on the stage. This time we had three weeks in a rehearsal room, starting from scratch with no pre-existing ideas. It gave us space to explore and find something genuinely new as a cast.

Q: Had you worked with any of the cast before?

A: No, I hadn’t worked with anyone before, but it’s a very open and generous company. Everyone was willing to be vulnerable and try things, which made it a really creative environment.

Q: What sort of audience does The Mousetrap attract today?

A: It’s very mixed. We get people of all ages, including young audiences, who are often the most vocal. The play is accessible—there’s no swearing or  violence—so it works well for families as well as regular theatre-goers.

Q: Has the production been adapted for modern attention spans?

A: Yes. Christie’s writing can repeat information, and we felt modern audiences don’t need as much repetition. This version opens quickly and really drives forward, with something happening almost constantly, so you can’t take your eyes off it.

Q: Has the running time changed?

A: It’s shorter now—just under two hours—which feels right for the pace and tension of the piece.

Q: How important is sound in creating atmosphere?

A: Sound is a huge part of it. Some of the classic effects, like the wind machine, are still there, but they’ve been built on with new sound design, music and radio effects. Sometimes it’s subtle, sometimes it’s very loud and shocking, all to support the drama.

Q: You’ve also written your own play. Can you tell us about that?

A: I wrote a play called Entropy, which I took to the Edinburgh Fringe. It was about love and quantum physics, and it sold out, which was amazing.

Q: Did you always plan to become an actor?

A: My parents were actors, although they stopped acting before I was born. What really inspired me was hearing stories about drama school—things like going to London Zoo to study animals and their movement. That sounded so exciting to me when I was young.

Q: How do you compare theatre work with television work?

A: I trained classically, so theatre was my foundation. Theatre gives you immediate feedback and the chance to keep developing a performance. Television can be very fast-paced and high-pressure, and you might not see the result for a year after filming.

Q: You’ve recently appeared in Bridgerton. What was that like?

A: It was amazing. We filmed mainly in studios around Uxbridge, with some location shoots in large manor houses. The attention to detail on that show is incredible.

Q: How do you see the industry at the moment?

A: It’s been tough for a lot of people. There was a big production boom during COVID, then things slowed down. I’ve been lucky to keep working, and it does feel like things are starting to pick up again.

Q: How long is your run in The Mousetrap?

A: We’re running until May. After that I’ll probably take a little time off with my family, but I’d love to do more theatre afterwards.

Q: How has the audience response been so far?

A: The houses have been really full, which feels like a privilege. After doing shows with very small audiences in the past, it’s incredibly rewarding to play to full houses night after night.