A Hauntingly Lukewarm Adaptation: A Review of “Don’t Look Now” on Stage
Daphne du Maurier‘s chilling novella, “Don’t Look Now,” is a masterclass in psychological suspense. Though, a new stage adaptation currently touring the UK, while possessing moments of poignant sadness, unfortunately struggles to capture the story’s signature dread. This review delves into the production’s strengths and weaknesses, offering a critical assessment for those considering experiencing this adaptation.
A Familiar Venice, A Fractured Couple
The play, adapted by Lucy Bailey and directed by Michael Oakley, wisely centers on the fractured relationship of John and Laura Baxter. You witness their grief following the tragic death of their daughter, Christine, filtered through John’s perspective, as du Maurier originally intended. The setting - a return to the Venetian hotel where they honeymooned – powerfully underscores the chasm that has grown between them.
Leyshon’s script effectively portrays the couple’s pain, threading their sorrow with a palpable sense of guilt. John (Mark jackson) embodies a frustratingly callous approach, mirroring the dismissive doctor in the source material, urging Laura (Sophie Robinson) to simply “move on.” This dynamic, while realistic, contributes to the overall feeling of emotional stagnation.
Where the Chill Fades
Du Maurier’s story thrives on a pervasive sense of foreboding. Every scene is colored by an awful premonition, extending beyond the unsettling encounter with two sisters claiming psychic abilities. Sadly, this crucial element is largely absent on stage. Instead of chilling, the episodes feel persistently lukewarm, and the supernatural elements fail to unsettle.
* The creeping sense of dread, so vital to the novella, is noticeably diminished.
* The production, though wisely presented without an interval, loses momentum in its closing section.
* The famous hooded figure’s climax feels faintly ridiculous as they run around a largely empty set.
Visuals and Soundscapes: A Mixed Bag
Jess Curtis’s set design initially proves efficient, seamlessly transitioning between hotel rooms and restaurants. Opened doors cleverly suggest the depth of Venice,evoking both places of worship and the city’s “slowly dying” streets,as described by du maurier. costumes, predominantly in the hues of the canals, and Jessie Addinall’s mournful lighting further underscore the couple’s profound sense of loss.
However, the set ultimately becomes an empty shell, failing to amplify the mounting tension. Similarly, Adrienne Quartly’s score, while evocative, leans more towards sadness than suspense. You’ll find the script excels at conveying grief, but struggles to build genuine psychological terror.
Performances and Lost Potential
While the actors deliver committed performances, they occasionally feel stilted. The characters, despite the actors’ best efforts, never quite burrow under your skin. John’s overwrought psychic episodes, intended to heighten the mystery, inadvertently diminish the impact of Laura’s later, surprising appearance with the psychic sisters (Olivia Carruthers and Alex Bulmer).
It is moving to witness John and Laura’s attempts to rekindle their intimacy. Ultimately, however, any suspense is sadly submerged, leaving you with a feeling of unfulfilled potential.
Final Verdict
This adaptation of “don’t Look Now” is a respectful, but ultimately underwhelming, interpretation of a literary masterpiece. If you’re a devoted fan of du Maurier’s novella, you may find yourself longing for the story’s inherent psychological power. Though,if you’re unfamiliar with the source material,it offers a melancholic,if not particularly thrilling,evening at the theater.
Where to See It:
* New Wolsey Theatre, Ipswich, until October 25th: https://www.wolseytheatre.co.uk/events/dont-look-now/
* Salisbury Playhouse, October 29th to November 15th: https://www.wiltshirecreative.co.uk/events/dont-look-now
Worth a look