This stage adaptation of Patricia Highsmith’s classic novel has some fascinating aspects to it but it feels a little sluggish in terms of pacing.
It has to be said that with this adaption of The Talented Mr. Ripley, Mark Leipacher makes some extremely bold and creative choices that takes the audience right into the head of Tom Ripley to keep the audience fascinated by what unfolds. Yet there are moments in which the production doesn’t quite come together particularly in terms of pacing, particularly early on in which scenes feel slightly rushed through.
The story begins with Herbert Greenleaf meeting Tom Ripley, a con artist who makes money by any means possible, to try and convince his son Dickie who currently resides in Mongibello in Italy to return home to the US. Ripley agrees, exaggerating his friendship with Dickie, who of course has no recollection of him. Soon Ripley finds himself thoroughly integrated Dickie’s life – becoming increasingly obsessed with him. Soon things takes a sinister turn when events lead him to taking on Dickie’s identity.
Billed as psychological thriller, it does have to be said that Leipacher’s adaptation and production really captures the essence of the story well (particularly in the second act) – but due to the way in which the story is paced, it takes a bit of time to settle down and get to the point. There is only a sense of the danger and threat that Ripley poses about half way through the first act in which the audience sees just how obsessed he has become with Dickie with the act concluding with a shocking act.
In the early scenes, it is difficult to get a grip on what the idea for this production is, however as it grows in confidence the audience are left enthralled with the razor sharp focus on the psychological nature of the story. It should be noted that the use of the ensemble to highlight Ripley’s conflicting state of mind and consciousness is a very clever idea, withh particular thanks to the movement direction by Sarita Piotrowski that is cleverly choreographed.
On the other side of this, the way in which the moments in which the ensemble break into scenes and cry ‘cut’ feel extremely disruptive to the flow of the story and don’t quite fit in with the tone of the production.- I preferred Ripley’s asides with the other characters unaware of what he said. It does have to be said that Zeynep Kepekli’s evocative lighting design is powerful in the way in which it transforms the setting and mood of the scene – particularly again in the second act which is the strongest.
Holy Pigott’s minimalistic set design is wonderfully practical and sleek, taking the audience from location to location with ease.
But it is the acting that really elevates the production. At the centre of it all is Ed McVey (the Crown) as Tom Ripley himself, playing him with cool and calculating charm to chilling effect – particularly in the wake of his crimes. It is a masterful performance in the way in which he delves deep into the character so utterly convincingly – particularly in the way in which he deals with the net closing around the character is a real stand out moment.
But he is surrounded by a strong cast. Bruce Herbelin-Earle as Dickie has plenty of swagger, but hints effectively at the character’s conflict about his identity. Maisie Smith as Marge is wonderfully charming as the naive character whose suspicions about Ripley grow. But the whole ensemble really breathe life into the story, drawing the audience into its depths powerfully.
Overall, it is the details and performances that make this production shine, the pacing and clarity of the story does need to be sharpened somewhat -particularly for those who are experiencing the story for the first time. This being said the psychological nature of the story is explored effectively – most so in the gripping second act.
The Talented Mr. Ripley continues to play at the New Victoria Theatre until the 11th October.
Rating: ❤️❤️❤️