Writer: Stephen King
Adaptors: Owen O’Neill and Dave Johns
Directors: David Esbjornson and Tim Welton
In adapting The Shawshank Redemption for the stage Owen O’Neill and Dave Johns return to Stephen King’s modest novella rather than Frank Darabont’s more lavish movie.
Red (Ben Onwukwe) is a long-term inmate of the harsh Shawshank penitentiary and has adjusted to imprisonment. Being able to obtain contraband for other inmates makes Red a person of influence and he knows how to avoid any serious conflict. Newcomer Andy Dufresne (Joe Absolom) on the other hand shows no sign of becoming normalised to prison behaviour and refuses to cooperate with the sexual demands of the more brutal inmates. Andy, however, has certain skills from his professional life outside of Shawshank which make him initially useful and later essential to the corrupt warden Stammas (Mark Heenehan). The unexpected appearance of evidence Andy may actually be innocent pushes matters to crisis point.
The harsh environment is apparent from the opening with exaggerated sound effects of cell doors being locked and the stage curtains opening to reveal three new prisoners, naked and dusted with lice power, being welcomed with crude catcalls from hardened inmates. Gary McCann’s set is stark- bleak grey walls- and offers little relief with the monotony broken only by the occasional prop – an oak panel to represent the warden’s more opulent office- dropping from the ceiling.
The Shawshank Redemption is often promoted as a story of hope surviving extreme adversity. The current production, however, seems more concerned with the effect of incarceration upon the characters. Librarian Brooksie (Kenneth Jay) has become so institutionalised as to fear being released from prison where he has achieved a degree of respect amongst the inmates. Red is hiding from the real world and coming to terms with the guilt he feels for his crime.
The most interesting character is Andy Dufresne who in the early scenes is portrayed as being above the corrupting influence of Shawshank. Yet Andy is also shown to be two steps ahead of everyone else so act one ends with the tantalising possibility he has been corrupted but was just concealing his moral depravity until the most advantageous moment.
Ben Onwukwe is an avuncular narrator. His version of Red is that of a world-weary carnival huckster who has seen it all and is puzzled to encounter someone like Andy Dufresne who refuses to behave in the expected manner. If Red is constantly on the make Joe Absolom’s Andy is more inquisitive and curious. Absolom has a professorial or priestly attitude, reserved and hands behind back or bending and studying rocks. It is a convincing portrayal of someone who could become a prison kingpin if they put their mind to the task.
Directors David Esbjornson and Tim Welton do not, however, create a strong atmosphere. Scenes are full of the prisoners killing time – playing football or cards- but the mood is one of boredom rather than desperation or danger. The fight scenes by fight director Alison De Burgh are not convincing – the cast seem to be proceeding carefully – so there is no undertone of potential violence. The adaptation over-explains some points (where Andy has concealed funds outside prison) but is vague on others – the evidence of the warden’s corruption is shown only visually and briefly.
While the current production of The Shawshank Redemption works as an examination of the impact of institutionalisation and features some fine performances it is not as effective as a thriller.
Run until 5 November 2022
The Reviews Hub Score
Ineffective
