The Talented Mr. Ripley
Devonshire Park Theatre, Eastbourne
From March 30th to Saturday, April 4th
by Tony Flood
Mark Leipacher deserves much credit for performing the difficult task of adapting Patricia Highsmith’s 1955 novel The Talented Mr. Ripley to a stage play.
Leipacher, who also directs this production, excels in taking us into the world of deception and deadly ambition, but the play is slow-paced in the first act and at times confusing in the second act.
Nevertheless, it was well received at Devonshire Park Theatre‘s matinee on Wednesday, with the audience giving prolonged applause at the final curtain.
They no doubt appreciated that a stage adaptation does not have the advantages of the big-screen productions in 1960 (Purple Noon) and 1999.
This psychological thriller tells how a nobody, Tom Ripley, (Ed McVey) has an unexpected change of fortune when a wealthy stranger offers him an all-expenses paid trip to Italy to bring home his wayward son, Dickie Greenleaf (Bruce Herbelin-Earle).
Tom becomes seduced by the 1950s glamour of Italy and is eaten up with jealousy at the aloof Dickie’s idealistic lifestyle. His obsession leads to lies, murder and identity theft.
The ten-strong cast gives excellent performances. But the stand-outs are McVey (Prince William in The Crown), Herbelin-Earle and former Eastenders star Maisie Smith, as Dickie’s unappreciated girlfriend Marge Sherwood. McVey, following in the footsteps of Alain Delon, Matt Damon, John Malkovich and Andrew Scott, is on stage almost throughout, causing chaos and danger with his irrational behaviour.
Dickie’s father, Herbert, is convincingly played by Christopher Bianchi. He doubles as an Italian detective, who twice jumps to the wrong conclusion to let Ripley off the hook.
Cary Crankson, as the suspicious Freddie Miles, provides superb support.
Holly Pigott’s minimalist set design enables scene changes to be made swiftly as we are taken from New York to Italy. Other important contributions are made by lighting designer Zeynep Kepekli, sound designer Max Pappenheim and casting director Marc Frankum.
But the use of cinematic methods to rewind and replay dramatic scenes reduces the tension.
