Review: THE TALENTED MR RIPLEY, Richmond Theatre

Patricia Highsmith's psychological thriller The Talented Mr Ripley was published 70 years ago, but remains fascinating due to her brilliant writing, but also movie and Netflix versions that have kept the story alive. This excellent new stage adaptation, written and directed by Mark Leipacher, strips back the story and takes us to the dark heart of Highsmith's most famous character.

Tom Ripley is a struggling con artist in New York. He strikes lucky by being enlisted by the wealthy father of aspiring artist Dickie Greenleaf to persuade him to return from Italy. Tom is entranced by Dickie's charm and the trappings of his luxurious lifestyle. After ensconcing himself into Dickie's life, he turns to forgery, deception and murder, using ever-more extreme tactics to stop the truth catching up with him.

Ed McVey is a compelling Tom Ripley, never off-stage and brimming with self-doubt and pseudo-confidence. McVey inhabits the character incredibly well, putting his own spin on the role. His rapid-fire chatter and nervy disposition as Tom contrasts effectively with his relaxed interpretation of Dickie, as he mimics his mannerisms, voice and attitude.

Bruce Herbelin-Earle, who makes an assured stage debut, is a suave and swaggering Dickie. His dishevelled linen shirt is unbuttoned to the waist and he walks around with the self-assurance and confidence of the rich and entitled. Herbelin-Earle embodies Dickie's most fatal flaw; he showers you with attention, before becoming bored and moving onto new things, which is what, ultimately, is so devastating to Tom.

Maisie Smith is composed and calm as Dickie's love interest Marge, with occasional thoughtful flashes of insight into Tom's behaviour. Christopher Bianchi brings gravitas as Dickie's father Herbert and Cary Crankston is suitably annoying as Dickie's curious friend Freddie.

The production is very meta. A group often gathers around the action, dressed in ominous-looking trench coats and trilbies, often commentating on the story. Overall, Leipacher’s direction works well; the story feels a bit too fragmented in the first act, but there is good fluidity in the cast’s movements and purpose. Leipacher doesn't let us forget that Ripley is a veritable psychopath, but he is also awkwardly charming and sympathetic. You almost root for him as the underdog trying to gain advantages in an unfair world.

It’s an interesting creative decision to have instances where the lights flash, a voice shouts ‘cut’ and there is a re-run of a particular scene. However, it impacts the flow of the story hugely at those moments, causing too much friction in this already uneasy story. This is a violent story; some of Haruka Kuroda's fight direction could be tighter, but overall the various assaults are suitably shocking.

Holly Pigott's design is stark; a bare stage with minimal props and a central raised platform, which the cast slip under and over, as though Tom always has someone's eyes on him. Zeynep Kepekli's lighting design is often overly bright, especially when those 'cut' interruptions occur, but the whole look works in its minimalism as it focuses the attention on the actors and their darkly compelling story.

The Talented Mr Ripley is at Richmond Theatre until 15 November, then touring until May 2026