The Talented Mr Ripley – Festival Theatre

I remember first reading Patricia Highsmith’s The Talented Mr Ripley as a teenager and being completely hooked by Tom Ripley’s mix of cunning, insecurity and longing. There was something about him that felt both thrilling and a little unsettling, and I couldn’t stop thinking about the Riviera he inhabited, sun-drenched, glamorous and just a little decadent. Then I watched the 1999 film, and my fascination only grew. So, when I got the chance to see the story brought to life on stage at the Edinburgh Festival Theatre on the opening night, I was really intrigued about what I was about to experience.

From the very first moment, the play draws you into Ripley’s world. Ed McVey is rarely off stage and he inhabits Tom with such precision that it is impossible not to be captivated. He moves effortlessly between boyish charm and calculating obsession, revealing at the same time a vulnerability that makes Ripley strangely sympathetic. Watching him navigate the contradictions of the character, the self-loathing, the desperate desire to belong and the ruthless pragmatism, was fascinating. There is a warmth to McVey’s performance that makes Ripley oddly endearing even as his actions become increasingly dark.

The story itself feels true to Highsmith. Ripley is sent to Italy by the wealthy Herbert Greenleaf to persuade his indolent son Dickie to return home. Once there, he becomes completely enraptured by Dickie’s charisma and the luxurious, carefree life he represents.

Bruce Herbelin-Earle’s Dickie is effortlessly magnetic while Maisie Smith’s Marge is grounded, astute and entirely believable as the sensible centre among the indulgence and excess. The interactions between these three keep the story moving and it is genuinely compelling to watch Ripley oscillate between admiration, envy and calculation.

One of the things I loved most about this production is how it makes Ripley’s inner world tangible. The set is minimal and consists of a raised platform that transforms into a beach, a bar, a boat or a bedroom with clever lighting and props. This is a very clever choice as it allows the focus to stay squarely on the characters and the tension between them. The production is energetic and is also infused with music, movement and even a subtle choreography which adds an edge while keeping it firmly in the 1950s.

McVey frequently breaks the fourth wall, speaking directly to the audience, and these moments are completely mesmerising. They give a fascinating glimpse into Ripley’s mind and motivations without ever feeling heavy-handed. It reminded me why this character has endured across decades. He is morally complex, endlessly intriguing and very human in his flaws.

If there is any minor reservation, it is that at times the pace feels slightly unevenn, particularly when the scenes lingered a little longer to let the tension build and Ripley’s psychology breathe. But these moments were brief and never took away from the overall experience.

Ultimately, this production is a joy. It champions Highsmith’s novel while bringing something fresh and thrilling to the stage. Experiencing the story live, knowing Ripley from both my teenage reading and the 1999 film, added a layer of excitement I did not expect.

Theatre has a way of making his world feel immediate, intimate and suspenseful in a way that film cannot. McVey’s performance alone makes the evening memorable, but the production as a whole is stylish, energetic and thoroughly entertaining. I left the theatre smiling, delighted to revisit a story I love and pleased to see Ripley’s dark charm so brilliantly realised on stage.

Reviewer: Nazaret Ranea

Reviewed: 16th September 2025

North West End UK Rating: