Patricia Highsmith’s The Talented Mr Ripley has long fascinated audiences with its chilling portrait of charm, deception and ambition, with the movie version reigniting passions for the original novel. Now, in a new stage adaptation by Mark Leipacher, the story returns to UK theatres in a sleek and psychologically charged production that places its enigmatic antihero centre stage.
Ed McVey, known for The Crown, delivers a magnetic performance as Tom Ripley. On stage throughout, McVey commands attention with a stillness that borders on eerie, punctuated by precise micro-expressions and sudden bursts of neurotic energy. His Ripley is both charismatic and unsettling, drawing the audience into his twisted logic with confessional asides and conspiratorial glances. It’s a performance that walks a fine line between sympathy and sociopathy, and McVey handles it with impressive control.
The Talented Mr Ripley utilises a minimalist set, dark and sparse, clearly designed to focus attention on the psychological drama. Neon lighting evokes the sun-drenched glamour of 1950s Italy, though the visual contrast between Ripley’s drab world and Dickie Greenleaf’s opulence could be more sharply defined. Holly Pigott’s design choices, while effective in mood, occasionally lack the richness needed to fully transport us to the Mediterranean.
Leipacher’s direction is fluid and inventive, though at times overly stylised. The use of actors calling “Cut!” and rearranging furniture mid-scene introduces a meta-theatrical layer, suggesting Ripley’s manipulation of his own narrative. While conceptually intriguing, this device, which ends up going nowhere, disrupts the momentum and emotional build, particularly in the first act where everything feels compressed and the seduction of Dickie’s lifestyle is rushed.
The second half fares better, narrowing in on Ripley’s escalating deception and the suspense that follows. The sound design by Max Pappenheim subtly underscores the tension, while Zeynep Kepekli’s lighting adds a noirish edge that suits the story’s darker turns.
Bruce Herbelin-Earle is superb as Dickie, though the character feels slightly underdeveloped, making Ripley’s obsession harder to grasp. Maisie Smith brings warmth and grit to Marge Sherwood, with moments of real tension in her confrontations with Ripley. The ensemble is solid, though occasionally underutilised, and the pacing could benefit from tightening, particularly in the final half-hour where some beats feel repetitive.
This is an intelligent and ambitious adaptation of The Talented Mr Ripley that probes the themes of class, envy and identity with style. While its theatrical flourishes sometimes overshadow emotional depth, the production remains compelling, anchored by McVey’s riveting performance. It may not offer a cathartic conclusion, but it leaves an unsettling chill; a testament to the enduring power of Highsmith’s creation.
Tour listings and ticket information can be found here
