Review: THE SHAWSHANK REDEMPTION, Festival Theatre, Edinburgh

Based on Stephen King's gripping novella Rita Hayworth and the Shawshank Redemption and one of the best-loved films of all time, The Shawshank Redemption has a lot to live up to. And it does...mostly.

Adapted by Owen O'Neill and Dave Johns, the play follows banker Andy Dufresne who is wrongly convicted of murdering his wife and her lover. He is sent to the notoriously violent Shawshank prison run by the despotic Warden Norton. In a world of merciless guards, gang rape and abuse Andy finds a friend in fellow inmate Ellis 'Red' Redding. The two bind together, showcasing the power of human resilience in darkness and the injustices of the American prison system.

Following in Morgan Freeman's footsteps is no easy feat, but actor Ben Onwukwe steals the show. He encapsulates the spirit of Freeman's characterisation whilst incorporating his own noteworthy interpretation - this Red is cheekier, more playful, more energetic. He is our narrator, leading through his story with effortlessness and ease.

Despite challengingly crowded scenes, other prisoners also give us strong insights: Kenneth Jay's Brooksie is delightfully cranky, Jay Marsh's Bogs is terrifying, Coulter Dittman's Tommy is appropriately naive. Lee Jones' Rooster is initially menacing, however his repetitive evil laughter becomes two-dimensional. Meanwhile, Joe Absolom's Andy slightly misses the mark - his delivery often feels flat, missing the empathy and individuality of his character. Among a cast of strong personalities, he fades into the background.

Director David Esbjornson rightly does not attempt a carbon-copy of the legendary movie. He makes the story his own, which mostly works in his favour. A stark change is that all scenes (except one at the end - no spoilers!) are surrounded by the gritty concrete walls of Gary McCann's simple yet impressive set design, with sadistic guard Hadley often looming over the upper balcony.

Like the inmates, the audience are confined under Warden Norton's reign, which Mark Heenehan makes so successfully unnerving through his thunderous voice and chilling stage presence. Chris Davey's lighting beautifully compliments this vision - the use of hard-edged rectangles symbolising prison cells and the warden's office further emit claustrophobic confinement.

A few things could be improved: the fight scenes felt a bit stilted and the pace of the first act was slightly slow. The climatic revelation at the end (I won't give it away) felt rather brushed over, which left me wanting more.

Overall the play was a welcome, skilful interpretation of the classic novella and is showing in Edinburgh this week.

The Shawshank Redemption at the Festival Theatre until 29 April

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