The Shawshank Redemption

When Owen O’Neill and Dave Johns set out to write a stage version of The Shawshank Redemption they will have been well aware that they were tussling with one of the best-loved films of the 20th century.

This cinematic heritage is at once this production’s biggest strength and its biggest weakness. Whilst there are moments of genuine originality interspersing the powerful plot and vibrant characters, Shawshank the play never fully emerges from the shadow of Shawshank the movie.

Comparisons with the film seem to be actively encouraged, as the majority of the cast strongly resemble their cinematic counterparts. Reg E Cathey, is charged with the unenviable task of following Morgan Freeman’s Oscar-nominated performance as Red, the prison fixer and narrator of the tale. His delivery is much quicker than Freeman’s poetic style, thus giving the opening scenes a hurried feel to them, but as the play progresses into the more tragic scenes, Cathey came into his own, injecting an uplifting sense of humanity and soul into his captivating monologues. The closing speech was especially heart-wrenching and seemed to draw genuine tears from the actor.

Kevin Anderson’s turn as Andy Dufresne was less effective at eliciting sympathy, however. His initial reserve was rapidly replaced by a cocksure confidence, more Kevin Costner than Tim Robbins, thus robbing Andy of any real sense of vulnerability. His confrontation with Stammas (Mitchell Mullen) was particularly disappointing, as little was made of the prisoner’s impudence at calling his warden ‘obtuse’. The only time that you really felt for Andy was during the rape scenes, during which Joe Hanley’s menacing performance as Bogs was thoroughly intimidating. Hanley over-pronounced many of his lines with a sinister snarl worthy of Al Pacino.

It was through the musical elements, though that this production genuinely built on the legacy of the film. From the comical ineptitude of the band practice to the prisoners’ rendition of Johnny Cash’s Folsom Prison Blues which accompanied Bogs’ beating by the guards, the songs brought true originality to this production. Furthermore, the foul-mouthed camaraderie between Ernie (Lee Oakes) and Heywood (Ryan McCluskey) was genuinely touching and created an unlikely highlight as Ernie was beaten by Hadley (Shane Attwooll) for singing.

Whilst Peter Sheridan’s direction didn’t quite manage to live up to the phenomenally high standards of the film, this was still an impassioned retelling of an emotional masterpiece.

Chris Jefferies

The Shawshank Redemption, on now at the Wyndhams Theatre, 32.36 Charing Cross Road, London, WC2H 0DA, www.theshawshankredemption.co.uk