13 – 18 February
Widely regarded as one of the greatest films of all time – in fact, ranking site ‘Internet Movie Database’ (IDMb) rates it at No.1 – 1994’s “The Shawshank Redemption”, despite an initially lukewarm reception, has long since cemented its position in the pantheon of truly great films, as well as its place in the hearts of millions of film-lovers across the world. So any decision to bring Stephen King’s novella, and of course the celebrated film, to the stage, is a brave one. But rest assured, even the most diehard fans of this iconic film will not be disappointed by producer Bill Kenwright’s latest offering.
This is a captivating prison drama which will have you completely gripped from the opening scene right through to the dramatic dénouement. In between, this is a shocking tale of life within the confines of a brutal and barbaric penitentiary. BAFTA-nominated Joe Absolom successfully conveys the vulnerability of Andy Dufresne (and in both senses, his innocence) who is sent to the notorious Maine facility, Shawshank, after allegedly murdering his wife and her lover. As convincing and authentic as his performance undoubtedly is, (and much like Tim Robbins in the film), he is upstaged by the fantastic Ben Onwukwe as Red, the prison fixer, who delivers a compelling performance of which Morgan Freeman himself would be proud.
Like the film, this play is a fascinating and visceral study of criminal behaviour and menace, set against the backdrop of a corrupt, aggressive and uncaring penal system. Prison-life is violent, dangerous and unpredictable, and director David Esbjornson’s gritty rendering of the tale pulls no punches (literally or metaphorically) in its depiction of systemic bullying, gang rape and extreme language. And yet this tale also celebrates the resilience of the human spirit, the triumph of integrity over corruption, the unfailing belief that justice will ultimately be served. Dufresne’s nineteen years of incarceration are harrowing, and yet simultaneously this is also a morality tale full of hope. Red opines towards the end that, symbolically, “some birds aren’t meant to be caged. Their feathers are just too bright.”
There are impressive performances from the entire supporting cast; Mark Heenehan exudes menace as the corrupt Warden Stammas, whereas Kenneth Jay’s portrayal of the institutionalised Brooksie, and his tragic struggle to cope with life outside Shawshank, is poignant and believable. And yet, amidst the ever-present threat of death and violence, there are many moments of genuine warmth and humour between the inmates: this bittersweet play depicts the brutal realities of prison life, juxtaposed alongside our innate need to find humour and levity in even the darkest of places.
A prison makes the perfect location for human drama, and the clever and versatile stage design successfully conveys the claustrophobic confines and oppressive nature of prison life. Lighting and sound are used effectively to suggest the passing of time as Dufresne’s imprisonment stretches across two decades; the use of ‘contemporary’ music and cultural reference points such as the Moon landing and Raquel Welch’s iconic film poster, as well as a cleverly-staged, time-lapsed game of chess between Dufresne and his tormentors, all hit the mark.
My fear was that this play would not do justice to such an iconic and well-loved film. On the contrary, I cannot recommend it enough. It takes no prisoners in its execution, but you will, nonetheless, find yourself uplifted by this heartwarming tale of hope, friendship and the enduring power of the human spirit.
★★★★★ Tony Clarke 14 February 2023
