The Stage

The Talented Mr Ripley

Published Wednesday 17 March 2010 at 11:25 by Mary Redman

Phyllis Nagy’s complicated adaptation of Patricia Highsmith’s already psychologically intricate novel is easy to follow if you know the book, but baffling if you don’t. With two characters morphing into one another and others seemingly coming back from the dead, this is a useful way to express the internal conflicts and amoral thoughts of the self-absorbed anti-hero.

Marcus Webb and Elliot Harper in The Talented Mr Ripley at Queen's Theatre, Hornchurch Photo: Nobby Clark

Designer Claire Lyth’s set is steeply raked, uses abstract ripples and cyclorama clouds to suggest the alien Mediterranean of the inhibited fifties average American. Hangings conceal a compass card which swings violently during the simply staged, watery murder, visually intensifying the disconcerting feelings in the audience. The soundscape echoes the waves on shore, the Vespas and the music of the time.

Marcus Webb is the seemingly nerd-like Ripley toying slowly with Elliot Harper as his prey and narrowly concealed object of lust, the wealthy heir Richard Greenleaf. The two work extremely well together, especially during the mirror image merging into one. Just like Camus’ L’Etranger of the same period, Ripley is a coldblooded killer eaten up with barely controlled anger and disdain for others.

Francesca Loren’s petite blonde bombshell Marge is the clinging catalyst in the men’s relationship, while Karen Mann plays the overanxious Aunt Dottie and Richard’s dying mother.

There’s very good support from Simon Jessop, Sam Kordbacheh and Sam Pay.

Bob Carlton’s camply stylised, very Dolce and Gabbana television advertisement-style production, pleasingly full of honed male bodies in Speedos, catches both the atmosphere and surface reticence of the time to perfection.