Review: “RIPLEY” Brings The World of “PURPLE NOON” To The Japanese Stage For The First Time
With Remarkable Dialogue-Driven Acting, Tatsuya Ueda Leads This Quiet Psychological Thriller.
Ripley: This stage production is directed by Keiko Miyata, known for her work across a wide range of genres. Drawing on the “Ripley” series, which has inspired numerous screen adaptations over the years, including the 1960 film “Purple Noon (Plein Soleil),” the work is newly staged in Japan with a fresh theatrical interpretation.
Tom Ripley is portrayed by Tatsuya Ueda, who has built his career across both screen and stage. He takes on a character marked by cunning and emotional detachment, yet capable of drawing others in. Richard Greenleaf, whose encounter with Tom alters the course of his life, is played by Ryo Kimura. Marge Sherwood, who shows a sense of wariness toward Tom, is portrayed by Jun Hana, while Richard’s friend Freddie Miles is played by Takeshi Itakura, and Fausto, a boy living in Italy, by Ikuma Nagatomo. Richard’s parents are performed by Maiko Kawakami and Shingo Tsurumi. A notable feature of the production is its structure, in which multiple supporting roles, aside from Tom and Richard, are performed in dual casting by a limited ensemble.
あらすじ
Set in early 1950s New York, the story follows Tom, a man drifting through life sustained by habitual lies. He receives an unexpected request from a wealthy man: to travel to Italy and bring back his son, Richard, who has been living a life of indulgence abroad. Tom heads to Italy, gradually gaining Richard’s trust and forming a close bond.
As they move through cities such as Naples, Rome, and Sanremo, the two share a series of seemingly idyllic days. Yet beneath the surface of this glittering life, something begins to shift within Tom. His feelings toward Richard grow increasingly complex, as admiration and fixation intertwine, and he starts to blur the boundaries between himself and the man he has come to observe so closely. In time, Tom begins to believe that he himself is the one truly suited to be “him.”
Review
“Ripley” is not the kind of production that overwhelms audiences with flashy staging or action-driven spectacle. Instead, it unfolds as a restrained psychological suspense piece for mature audiences, gradually exposing the inner lives of its characters through an atmosphere of quiet tension. Precisely because of this approach, the actors’ performances become the driving force behind the production’s intensity.
As Tom Ripley, Tatsuya Ueda carries the production with an immense amount of dialogue. He first appears as a somewhat carefree man, even giving off flashes of superficial charm. Yet as the story progresses, traces of Tom’s hidden madness slowly emerge through subtle shifts in expression, calculated pauses, and the smallest movements around his mouth and eyes. Each new lie alters his demeanor almost imperceptibly, quietly instilling a sense of unease in the audience.
Particularly striking was the gradual way Tom’s fixation on Richard deepened over the course of the play. Rather than portraying the character through explosive emotional outbursts, the production reveals the distortion of Tom’s psyche through restrained performances and carefully controlled tension. Within that framework, Tatsuya’s delicate and highly detailed acting stood out all the more.
Ryo Kimura also left a strong impression as Richard Greenleaf. His relaxed mannerisms and natural presence created the convincing image of a man living freely abroad, making it easy to understand why Tom would become so captivated by him.
Another notable aspect of the production was the way multiple supporting characters were portrayed by the same actors. The seamless transitions between roles became one of the performance’s highlights, allowing the limited ensemble to create a layered theatrical world while maintaining a constant sense of tension and immersion unique to live theater.
Overall, the production moves at a relatively measured pace. Yet within that stillness, the accumulating psychological tension gradually amplifies the unsettling nature of the story. While audiences familiar with ”Purple Noon (Plein Soleil)” may find a sense of nostalgia in its atmosphere, the play also resonates with contemporary viewers through its exploration of human desire, envy, and identity. It is a production that particularly appeals to middle-aged and older theatergoers, drawing them into its quiet intensity.
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Photo Credit :[Ayaka Ozaki]
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