The Talented Mr. Ripley

Ed McVey in The Talented Mr. Ripley. Imagew by Mark Senior.

**

Proof that love is blind is painfully evident in Mark Leipacher’s adaptation of The Talented Mr. Ripley. A labour of love blinded by its love for Patricia Highsmith’s 1955 psychological thriller. In which a talented conman is sent to Italy to persuade the wayward son of a rich, American family to return home. Only to discover that lies lead to lies, murder to murders, and all manner of deceptions lead to a somewhat unconventional ending. Highsmith’s richly layered study of power, greed, sex and deception made incredibly dense in this lacklustre adaptation. One that shines in its ambition, but makes hard work of itself.

Most of the issues are of a basic nature. Beginning with economy. Essential when shifting from page to stage. Instead, dialogue proves overlong and overwrought. Frequently selecting the wrong issues to focus on. Leaving Ripley’s talent, charm, and gaslighting never really in evidence. His skills as a forger never foregrounded till very late in the play. Ripley, here portrayed as a confidence man with no confidence, further weakened by the third person narrative shifting to first person address. The result a manic monologue of endless exposition punctured by short scenes of dialogue you wish for more of. Ed McVey’s Ripley delivering every line at fever pitch. His rapid fire monologues lacking nuance and sounding shrill for having nowhere higher to climb to. Bruce Herbelin-Earle as pretty boy Dickie Greenleaf far more successful. Suave touches of F.Scott Fitzgerald married to ambiguous sexuality see him adored by all. Including Marge Sherwood. A shamefully underused Maisie Smith bringing genuine subtly during those scant moments when allowed to.

Maisie Smith and Bruce Herbelin-Earle in The Talented Mr. Ripley. Imagew by Mark Senior.

A director other than Leipacher would have addressed these issues. Visually, choices are a little more successful. Holly Pigott’s costumes, from playboys to long coated men, evocative of mood and the period. Pigott’s set embracing economy with its raised platform containing a holed centre, but doing little else. Zeynep Kepekli’s lighting taking up the slack to convey mood and depth, as does Max Pappenheim’s sound design. Movement sequences, under the guidance of movement director Sarita Piotrowksi, often visually impressive. Yet eager to fill in too many blanks, they often buckle under the burden of responsibility. As, ultimately, does The Talented Mr. Ripley.

Thomas Hopkins, Jack Maple, Sams Entertainment and Carl Moellenberg presentation of The Faction Production of The Talented Mr. Ripley, adapted and directed by Mark Leipacher, from the novel by Patricia Highsmith, runs at The Bord Gáis Energy Theatre until March 14.

For more information visit Bord Gáis Energy Theatre