When you combine Justin Martin, director of the esteemed Prima Facie, with Hollywood’s Adrien Brody and add in a well-received true crime documentary as source material, you know you’re in for something special. Of all the historic and opulent theatres in the West End, the aforementioned Oscar winner opts for a humbler abode. That is the Donmar Warehouse – a venue unlike any other and one which suits the narrative and format of this play perfectly.
A routine traffic stop lands our protagonist inside for murder. He vehemently exclaims his innocence, but these cries fall on deaf ears. After years of red tape suffocating him and his release, Nick Yarris submits to the idea that execution is his only option. Could recent developments in the use of DNA as evidence offer light at the end of a dark tunnel?
With audience members enveloping the stage, we almost feel like prisoners ourselves – peering over the balcony to see whatever action might be occurring before a guard wrenches us back. Thanks to Martin’s direction, we are never permitted to simply gaze. Instead, we are yanked straight into the centre of the drama and forced to confront it head on.
Brody invites us in immediately. His character is deeply flawed. A victim or outcast of society depending on your point of view. But we know he is not supposed to be behind bars. His interest in books and quotations of Salinger endear us but we soon see this is not a front: We have a genuinely innocent guy banged up here and as the play builds, so does our increasing frustration.
Our lead offers a masterclass in acting as he takes us through his characters various iterations– both good and bad. Morphing from his troubled teenage self into adulthood, Brody beguiles with his effortless transitions. He is so well supported. Nana Mensah as potential love interest and champion Jackie is not only convincing but captivating. We believe her attraction but also understand her reasons for distancing herself from Nick. It’s an assured and impactful performance.
Aidan Kelly has a ball as an argumentative and somewhat explosive prison guard. Posi Morakinyo exhibits sublime vocals. The actor impressively multi-roles alongside Cyril Nri, Ferdy Roberts and Tommy Sim’aan. All provide stellar support. Miriam Buether’s set design is also integral to proceedings – effortlessly extracting us from prison to domestic dwelling. It is evident that all have invested greatly here, both on and off stage.
We don’t need to list Adrien Brody’s credentials, but it is beyond refreshing to have an actor of this calibre bare all – almost literally at one point. Brody flits from personable to vulnerable in a blink. It is a strong, commendable performance that is sure to linger in the minds of those who behold it.
True and respectful of its source material, playwright Lindsey Ferrentino gives us a tight and robust script which, rather than focusing on the iniquities of crime and punishment, instead showcases the reality of those who have endured something unwarranted. As Story Consultant, Nick Yarris finally gets to have his say, and boy what a say it is. A memorable evening of theatre.
The Fear of 13 is at Donmar Warehouse until 30th November 2024
