Review: THE SHAWSHANK REDEMPTION at Town Players Of New Canaan

For many, the mention of The Shawshank Redemption instantly recalls the iconic 1994 film that brought Stephen King’s novella, Rita Hayworth and the Shawshank Redemption, to life. Etched into the American consciousness, it’s a slow-burn tale of cruelty, resilience, and—ultimately—hope. But The Town Players of New Canaan’s gripping stage production is a powerful reminder that live theatre has its own kind of magic—an emotional alchemy that can be just as moving, suspenseful, and unforgettable.

Adapted by Owen O’Neill and Dave Johns, the play premiered in Dublin in 2009, transferred to London’s West End, and became available for U.S. community theaters in 2019. On the TPNC stage, it proves that the story translates beautifully to the stage. While there are clear nods to the film, this production stands firmly on its own—raw, immediate, and powerfully alive.

At the center is Andy Dufresne, a soft-spoken banker convicted of murdering his wife and her lover—a crime he insists he didn’t commit. His years at Maine’s infamous Shawshank Prison unfold through the narration of Ellis “Red” Redding, a fellow lifer who knows how to “get things” and survive. Their unlikely friendship, built on trust and quiet persistence, becomes the soul of the story.

The cast is uniformly excellent. As Red, David Michael Tate is magnetic. His narration is rich with wry wisdom and weary insight, effortlessly breaking the fourth wall while staying grounded in the action. His performance is measured and deeply felt, offering a delicate balance of grit, humor, and soul.

As Andy, Tyler C. Small delivers a quietly transformative performance, capturing Andy’s evolution from reserved newcomer to calculating survivor. He plays the long game with grace and restraint, allowing the character’s strength to build slowly—until it erupts with deeply satisfying payoff.

The production’s antagonists are chilling. Tom Cleary is riveting as Warden Stammas, a Bible-quoting tyrant who cloaks corruption in piety. He stalks the stage with authority, offering a terrifying mix of self-righteousness and menace. 

Adam Cole (Bogs) and Christopher Cooney (Rooster) deliver menacing, disturbing performances as predatory inmates whose scenes with Andy are among the show’s most harrowing—drawing gasps from the audience.

Amid the brutality, moments of tenderness emerge. John Atkin brings heartbreaking vulnerability to Brooksie, the elderly inmate who finds life on the outside more frightening than prison walls. Tony Moreno is a revelation in Act II as Tommy Williams, lighting up the stage with energy and innocence that makes his fate all the more heartbreaking.

The ensemble is strong and cohesive. A.M. Byatt gives a compelling, layered performance as Captain Hadley, a brutal enforcer shaped by the same system he upholds.  Rico (Roderick Adams) has a streetwise edge and navigates the yard with sharp instincts; Pinky (Lenny Carlucci) and Junior (Jim Chiles) often circle the more violent inmates, contributing to the sense of danger and intimidation; Dawkins (Roger Dykeman) offers a quieter, watchful presence—neither a threat nor an ally; and Entwistle (Joshua Eaddy) evokes the quiet resignation of a man long forgotten. Together, they form a gritty chorus of voices that remind us this is not just Andy and Red’s story, but a complex ecosystem of broken men shaped by an unforgiving system. Their strong performances help paint a full, unsettling picture of life behind bars.

Deborah Burke’s direction is precise and intuitive. She embraces the bleakness of the story without letting it overwhelm, allowing moments of humanity and even grace to shine through. Her minimalist staging keeps the action moving fluidly, transforming a few tables and benches into everything from the yard to the warden’s office. 

Joel Reynolds’ set, framed by looming prison bars, anchors the visual world with simplicity and power. Jessie Lizette’s stark lighting design shifts moods with finesse—from cold menace to muted warmth—while Burke’s own sound design adds a constant layer of unease through low droning sounds, clanging doors, and haunting musical cues. Time is marked through projections and scene transitions that carry an emotional weight of their own. Gus Bottazzi’s fight choreography is tight and visceral, ensuring even the most brutal scenes feel both real and responsibly handled. Costumes  by Alexis Hoffman and Savannah Hall are expertly curated as are the Properties by Meg Bona. Stage Manager, Patricia Berg and her crew insure that the show runs smoothly. The result is an expertly crafted evening of theatre.

This isn’t a feel-good story—it’s about surviving injustice, violence, and soul-numbing isolation. But beneath all of that is a quiet, unshakable message of hope. That message rings clear in this production;  patience, resistance, and the will to hold on when everything tells you to let go. By the time the lights dim and the final twist is revealed, the audience is left in stunned silence—a tribute to the emotional weight and power of this performance. 

Deborah Burke and her ensemble have not just retold a classic—they’ve reimagined it for the stage with grit, grace, and humanity.

Verdict: A dark, harrowing journey, The Shawshank Redemption at TPNC is elevated by gripping performances, elegant direction, and immersive design. A powerful reminder of theatre’s ability to unearth even the most deeply buried hope.

Coming up at TPNC:  Witches by Jen Silverman, Charlotte’s Web, One man ,Two Guvnors, The Father,  and the musical, Once.

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