★★★

“inventive, stylised and almost cinematic”

Imagine if you could live your life like a movie set, and you were the director. If things weren’t going quite the way you wanted, you could call “Cut!” and re-run the scene with the desired outcome. Tom Ripley has gained this advantageous gift in Mark Leipacher’s touring adaptation of Patricia Highsmith’s “The Talented Mr Ripley”. It is a neat theatrical device applied to a character who lives, not just on his wits, but by the skin of his teeth. Unfortunately, though, it does chip away at the sympathy we are supposed to feel for this con artist and serial killer. The perverse beauty of Highsmith’s creation is that it is near impossible not to root for Tom Ripley, despite his psychotic tendencies. The emotional engagement is dampened which, in turn, undermines the suspense.

That said, Ed McVey is fascinating and charismatic as Tom Ripley. Overflowing with energy he is onstage throughout, commanding our attention and drawing us into his subterfuge by alternately addressing the audience before plunging back again into the thrilling story. Like unwitting accomplices, we tag along as his life spirals deeper into deception. Ripley is at a bit of a dead end, scraping by as a small time grifter until approached by shipping magnate Herbert Greenleaf (a cool Christopher Bianchi) who sets the wheels of Ripley’s adventures in motion. Herbert’s son, Dickie (Bruce Herbelin-Earle), is living it up in Italy showing no signs of coming home. Mistakenly believing Ripley to be a close friend of Dickie’s, Herbert offers him an all expenses paid trip to persuade the wayward son to return home. Eyeing a way out of the mess his life has become in America – and a free holiday – Ripley readily accepts. Thus begins his murderous journey.

It is a fast-paced journey, the sense of location created almost single handedly by Zeynep Kepekli’s lighting; a series of neon fluorescent tubes that transport us from the buzz of New York City nightlife to an Italian sunset, and into the depths of the Mediterranean Sea. The stark blackness of Holly Pigott’s set allows shadowy figures to prowl and watch from the sidelines, ever circling and closing in. The ensemble cast break away from the shadows to take on multiple supporting roles. But the focus is on Ripley and his ill-fated victims.

Herbelin-Earle, as Dickie, is refreshingly humble for a playboy of such privilege. Easy-going and relaxed, his voice is a touch more stilted however, as it searches for depth that isn’t really there. Maisie Smith, as Dickie’s frustrated girlfriend Marge, is down to earth, making good use of her underwritten role. Sometimes the secondary roles fare better. Cary Crankson steps out of the ensemble to play a convincing Freddie Miles, almost succeeding in tripping up and exposing Ripley before adding to the body count.

Leipacher’s production is inventive, stylised and almost cinematic. The first act flirts with film-noir while the second half homes in more on the plot twists as the pace quickens and the cat and mouse game gets in full swing, even if the suspense factor manages to escape the chase. Ripley spends a lot of the time thinking on the spot, making it up just so he can get out of his latest scrape. Leipacher’s “The Talented Mr Ripley” is quite the opposite. It is creatively and finely thought out from start to finish. Imaginative, clever, innovative and despite the theatrical trickery, respectfully faithful to Highsmith’s original.

CANDY

White Bear Theatre

★★★★

“a truly enthralling seventy minutes of theatre about love and addiction”

Can love truly conquer all? Candy, the stage adaptation of Luke Davies’ novel about love and heroin addiction, would argue it cannot. Director and co-adaptor Kate Elliott along with star and co-adaptor Freya James, have managed to deliver something truly special with this piece on the spiral of addiction and co-dependence.

When Dan and Candy meet, it is quite a typical boy meets girl. They fall in love. They want to share everything — every moment, every experience… including Dan’s budding dependence on heroin. What follows is a slow, but steady descent into sickness, desperation, and constant heartbreak that threatens to destroy them both.

Freya James delivers a stunning performance as the titular character, Candy, as well as a host of other characters who inhabit this universe — her snap transformation between Candy and Candy’s mother is particularly impressive. Ed McVey shines as well — he brings a softness to Dan, a character who might easily slip away as cold and self-interested. Instead, we thoroughly empathise with him. We want so badly for both of them to get better, to work it out, even though ultimately, we know they can’t.

The movement direction is truly a standout in the production. Co-movement directors Laure Bachelot and Alexandria McCauley have truly crafted something that deals sensitively with the subject matter at hand. When you’re dealing with stage-craft around drug use and sex, it would be all too easy to lean into the gratuitous, to shock your audience into submission. Instead, Bachelot and McCauley ensure that Candy and Dan’s actions always tell us just enough about what’s going on. The implication is sometimes more haunting than the visceral visual, and it is clear that this creative team understand that.

Praise must also be given for the set and lighting design (Kate Elliott and Cameron Pike, respectively). Though incredibly stripped back, once again the restraint only adds to the impact of the story. Elliott’s framework of PVC pipes lined with soft blue tube lights and draped with sheer, white sheets gives the space just enough structure, while also allowing intimate asides for both of our protagonists. With some soft lighting from behind the sheer sheets, we can watch as some of the most uncomfortable moments unfold. There are no shortage of occasions where we feel like we’re watching something we shouldn’t be privy to, but these moments behind the curtain, these silhouettes are particularly affecting.

What could allow this excellent piece of theatre to soar to the heights that it is absolutely capable of reaching? A slightly deeper introduction to Candy and Dan. Their meeting feels like it passes a touch too quickly. We’re thrust into the beginning of their shared addiction, but not given enough of their initial romance to help us invest into their relationship. They do love each other, even if that love turns toxic, that much is obvious — but the narrative would benefit from showing us more of why that love endures to begin with.

Candy is a truly enthralling seventy minutes of theatre about love and addiction, which holds its subjects and its audience with sensitivity and respect. Its a gorgeous exploration of an important subject, and it should not be missed.

THE TALENTED MR RIPLEY

Richmond Theatre

★★★

“inventive, stylised and almost cinematic”

THE TALENTED MR RIPLEY

Richmond Theatre then UK Tour continues

Reviewed on 10th November 2025

by Jonathan Evans

Photography by Mark Senior

Previously reviewed at this venue:

THE TALENTED

THE TALENTED

THE TALENTED

CANDY

White Bear Theatre

★★★★

“a truly enthralling seventy minutes of theatre about love and addiction”

CANDY

White Bear Theatre

Reviewed on 5th June 2025

by Stacey Cullen

Photography by Kate Elliott

Last ten shows reviewed at this venue:

CANDY

CANDY

CANDY

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