The Talented Mr Ripley – Birmingham REP

Writer: Patricia Highsmith

Adaptor and Director: Mark Leipacher

A lone figure hunched over a typewriter in a bar in mid-50s New York. He’s trying to look small: why? This is Tom Ripley, a small-time con artist who spends much of his time looking over his shoulder, expecting his past to catch up with him any time. “Do you ever feel you’re being watched?” he asks.

But then, the possibility of escape arrives out of the blue. `The man he suspects of following him approaches, but rather than arrest, he has a proposition. The man is Herbert Greenleaf, a wealthy industrialist: his son, David, having eschewed the rat race, is living a Bohemian lifestyle in Italy. Ripley exaggerates his connection with David and wangles an expenses-paid trip to Italy with a view to persuading David home.

Ripley heads to Italy and quickly renews his admittedly slight acquaintance with David and his girlfriend, Marge. But as he and David become closer, tension grows, leading to a shocking incident and a cat-and-mouse game across Italy. Can Ripley reinvent himself and keep the authorities – and Greenleaf senior – at bay? Could he get away with murder?

On entering the theatre, one’s eye is drawn to the monochrome geometric set of Holly Pigott. The stage is largely empty with a large raised square dais in the centre. This has a hole in the middle through which cast members occasionally emerge and disappear either to interact or move props. Minimalist trucks roll on and off with doorways or ramps as needed. When required, highly stylised movement is superbly choreographed so that one is almost unaware of the changes, or, indeed, that the wireless is held by a member of the cast rather than set on some sort of shelf. The chameleon-like character of the set mirrors Ripley’s own reinventions and is a triumph of the designer’s art.

Mark Leipacher has adapted and directed this adaptation of Patricia Highsmith’s classic story of the anti-hero. His direction is slick and sure. Ed McVey brings us Ripley, a Ripley who is inward-looking, questioning, bordering on paranoia and obsession. Hardly off stage, we see the entire story from his viewpoint as his thoughts are vocalised and directed to the audience. Such is the power of McVey’s characterisation that we feel we know Ripley within minutes and, after the twists and turns of the plot are done, it all has an inevitable quality. Highsmith, Leipacher and McVey contrive to bring us an incongruously sympathetic character, one who, despite his criminal activity and selfish nature, we can’t help but root for.

Bruce Herbelin-Earle plays Dickie Greenleaf with a straight bat. Initially hesitant, we see his character gradually warming to Ripley even as he is aware of being manipulated: somehow, he finds himself on a one-way street going nowhere. Maisie Smith also gives a towering performance as Maggie, Dickie’s girlfriend, whose nose is pushed ever further out of joint. Her quest for the truth repeatedly puts Ripley on the back foot; her affection and concern for Dickie – and vague unease around Ripley – are always evident.

The rest of the cast play multiple roles as needed. Of particular note is Christopher Bianchi, who gives excellent performances as Dickie’s caring father struggling – and failing – to understand his son’s actions and then as Roverini, the Italian policeman investigating the events there. The characterisations are so well done and nuanced that one might be forgiven for not realising it is one actor.

It’s not without flaws: the script is very wordy. The first half, leading up to the watershed moment, is well-measured as tension is built, reflecting the relaxed Italian lifestyle lived by the central trio, but the second half could perhaps move a touch more briskly at times towards the inevitable dénouement.

Nevertheless, this is a superb piece of theatre from a group of creatives at the very top of their game, one that deserves to be seen. Highly recommended.

Runs until 27 September 2025 and on tour