The Shawshank Redemption – Darlington Hippodrome

Writer: Stephen King

Adapter: Owen O’Neill and Dave Johns

Director: David Esbjornson

Bringing The Shawshank Redemption to the stage could potentially be a daunting prospect. Stephen King’s 1982 novella and the iconic 1994 film have become so firmly lodged in popular culture that any adaptation risks inviting unhelpful comparisons. This touring production pares down the narrative and sees director David Esbjornson enhance key aspects of the story, offering a thoughtful and often gripping interpretation that proves the story’s themes of hope and endurance still resonate in a live setting.

The narrative is mostly that of Andy Dufresne, a banker wrongfully convicted of murdering his wife and her lover. Sentenced to life in Shawshank Prison, Andy forms an unlikely friendship with fellow inmate Ellis “Red” Redding and it is through his eyes that we see the drama unfold. The play is set over approximately 20 years, culminating in Andy’s daring bid for freedom and Red’s own journey toward redemption.

At the heart of this production is Ben Onwukwe as Red. Onwukwe delivers the perfect performance of quiet authority, grounding the story in a sense of lived experience. His narration feels natural and unforced, and he carries the audience through the decades within Shawshank’s walls with ease. His final reflections are delivered without sentimentality but with a depth of feeling that makes them land all the more powerfully.

Opposite him, Joe McFadden takes on Andy Dufresne. It’s a role that requires restraint and a sense of quiet confidence, but McFadden’s interpretation sometimes strays into overly mannered choices. The affectations that McFadden has chosen to bring to the character and the physicality with which his facial expressions are constantly moving and changing create distance between character and audience, muting the resilience that defines Andy in the film. While there are flashes of conviction, his performance doesn’t quite provide the emotional anchor and authenticity the production needs.

The supporting cast, however, more than compensate. Bill Ward gives a forceful performance as Warden Stammas, embodying corruption and control with a sharp precision. Kenneth Jay’s Brooksie is well judged, capturing both the gentle humour and the quiet tragedy of a man who no longer belongs in the outside world. Ashley D Gayle (Rooster) and Kyle Harrison-Pope (Tommy Williams) both give highly memorable character performances. Around them, the ensemble cast convincingly establish the rhythms and hierarchies of prison life, giving the production a strong sense of realism.

Design plays a role here, and Gary McCann’s set is one of the show’s great assets. Numerous small changes are made that allow the action to move from the exercise yard to the warden’s office without losing the oppressive atmosphere. Coupled with intelligent lighting choices, the staging underlines the themes of isolation and confinement while still keeping the pace of the production.

If the show falls short of perfection, it is largely because its central figure never fully comes into focus. But the surrounding performances and staging are strong enough that the production succeeds in capturing the enduring spirit of The Shawshank Redemption.

Runs until 13th September 2025