The Shawshank Redemption @ Theatre Royal
Teetered on the edge of becoming Snore-shank Redemption
As an avid movie-goer and an aspiring actress, I was intrigued to see how one of the most acclaimed films of all time was going to be adapted for the stage. The Shawshank Redemption is notorious for being a film full of grit and truth, one with a brilliance I try to scrutinise but quite frankly can't. With a theatre production taking its turn at the Theatre Royal, it seemed almost rude not go and see if it could live up to its predecessor.
As the curtain rises, a basic set is revealed; prison walls enclose the actors from the very beginning. Confinement is emphasised from the outset, a spotlight on Patrick Robinson as he narrates just like Morgan Freeman. Getting the accent spot on down to a T, this monologue sets the ball rolling for the night.
But does the ball ever fully roll? As the play progresses, it seems like more of a live action version of the film than a production in itself. Almost too true to the film, with actual word for word scripting from said movie, the play loses originality and stand alone credibility. However, what is commendable is the outstanding acting from the cast. They embody their characters so well, building a connection with the audience. Their ability to encourage laughter at the same time as reinforce the hardship of Stephen King’s novella is absolutely brilliant.
Maybe it's just my theatrical brain refusing to switch off, but I just wish there'd had been a bit more wonder and beauty with the performance. Transitions from scene to scene were done in blackout, nothing fancy just bish-bash-bosh, move the props into another scene. I can understand why they did it, reinforcing how those characters weren't experiencing any wonder or beauty themselves so why let the audience? But to me the performance lacked a quirk that should have left me gasping at how technically brilliant it could have been.
However, one part of the performance that really did stand out was after Dufresne’s escape. The realism on stage disappearsedmomentarily, leaving a gorgeous red light shining on Ian Kelsey. A butterfly was then released, and with the juxtaposition of this freedom with the rest of the play, it seemed the most compelling and impactful scene of the night.
Whether you’re escaping out of the theatre just like Andy did from prison, or you’re confined like Red, this rendition of King’s “masterpiece” precariously teetered on the edge of becoming Snore-shank Redemption instead.
6.5/10
