A STYLISH ADAPTATION THAT FAILS TO DELIVER THE THRILL

By Trisha Cusack | Press Invite

Mark Leipacher’s stage adaptation of the Patricia Highsmith psychological thriller The Talented Mr Ripley takes us through a tale of manipulation, obsession, and multiple murders. We follow Tom Ripley, an implied con artist, as he is tasked by shipping magnate, Herbert Greenleaf, to travel to Italy and convince his son Dickie, supposedly Tom’s good friend, to come home to his dying mother.

Throughout the play, Tom narrates directly to the audience, openly revealing his manipulation of everyone around him.  As he inserts himself into Dickie’s life, Tom’s admiration of his life turns into an obsession with tragic consequences – though not for Tom.

At over two and a half hours long, the plot begins to drag at points. After all, there are only so many times a man can be almost caught for murder and get away with it before it becomes repetitive. The production, with a bare stage and a cast of shadowy figures filling in the blanks, is at times hard to follow. As a result, the audience heavily relies on Tom’s narration to understand where the characters are at any one point. Particular devices attempt to introduce a more meta layer to the show, to emphasise Tom’s psyche. Scenes are occasionally interrupted by a director shouting ‘Cut!’, prompting the cast to replay them with altered outcomes. It’s an intriguing idea, hinting at Tom’s desire to rewrite reality, though it can feel jarring and inconsistent in tone.

Fans of the film, particularly those who enjoyed the glamour of the Italian Riviera and the wardrobe, will be slightly disappointed at the lack of visual impact.

The standout of the play is undoubtedly the cast. Ed McVey is a triumph as Tom Ripley. His portrayal as the awkward nobody and his transition into assuming Dickie’s life is very well done. It is also an accomplishment that, given the sheer volume of dialogue he delivers, his command of the role is impressive.

Bruce Herbelin-Earle, making his professional stage debut as Dickie, and Maisie Smith as Marge, complete the leading trio. Both perform well, with Herbelin-Earle capturing the easygoing swagger of spoilt Dickie very well. Smith, whose Marge is a little underused in the first act, shines in the second half. It would have been rewarding to see Smith explore a wider emotional range, as her character remains rather composed throughout, even when Dickie goes missing.

The Talented Mr Ripley is an interesting stage adaptation that tries to inject some originality into a well known tale. However, for a psychological thriller, it could have delivered more drama and passion to truly see the audience on edge.

The Talented Mr Ripley is running at Richmond Theatre until Saturday 15 November before touring the UK.

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Photo Credit: Mark Senior