Ben Onwuke, playing Ellis ‘Red’ Redding, carries this story beautifully. He tops and tails it with a mellow voice and a story-telling style to captivate. No wonder he has numerous audio books to his credit.
However, the first half is a bombardment of aggression with little remission. No doubt, prison is like that, yet, undoubtedly, there is plenty of subtle menace and understated tension simmering. A mood of depression must prevail in some corners – hence the high rate of suicide. Here we find a storm of high-pitched savagery. As a result, the director (David Esbjornson) offers the cast little scope to build tension and create climactic power. A little more ebb and flow, a smidgen of the off button in the volume would help build and release tension.
Even in the supposed searing heat, which marks the turning point of Andy Dufresne’s (Joe Absolom) incarceration, Rooster (Leigh Jones) is as animated and noisy as ever. He has no need of a cooling beer. Nobody mops their brow, that I noticed. The mops themselves led me to imagine an inside scene, when it seems from the lighting (Chris Davey) they are outside. Only having seen the film once in 1995, I had no detailed reference point. The work the men were doing didn’t seem too onerous to me – a woman used to mopping up – and they weren’t going at it hammer and tong. Am I nit-picking? Perhaps. But I hate to see a wasted opportunity on stage.
Additionally, Absolom’s delivery suggests a lack of conviction in his words. He lights up in Warden Stammas’ (effectively portrayed by Mark Heenehan) room, but mostly his delivery is rhythmic and unconvincing. I assume this is due to adopting the American accent and not truly inhabiting the words as a native speaker would. The pattern of Absolom’s delivery kept me at arm’s length throughout. I warmed to him in the second half – a bit more. Not enough.
The second half redeems the play. The tone is no longer black and white. Coulter Dittman is a superb Tommy Williams: totally believable; totally likeable. His energy and conviction ring true and are endearing. The remaining cast finally has an opportunity to showcase their undoubted skills.
Kenneth Jay as Brooksie finds his opportunity and lights up the stage. Jules Brown and Kieran Garland draw your eye. Leigh Jones’ character is toned down to good effect. Jones’ acting is sharp and on-point throughout. It simply needs more tonal contrast in the first half. The brutal Bogs Diamond, capably played by Jay Marsh, is no longer demanding flesh and dominating the stage.
The set works well (Gary McCann) and creates a series of settings with ease.
The standing ovation was well deserved following Red’s heartfelt monologue and Ben Onwukwe’s perfect pacing. The set reveal was perfectly pitched.
Playing until 29th April, https://www.capitaltheatres.com/
Reviewer: Kathleen Mansfield
Reviewed: 24th April 2023
North West End UK Rating: ★★★★