The Shawshank Redemption ★★★

The Shawshank Redemption is perhaps most widely known from the eponymous multi-award-winning 1994 film, always highly ranked in lists of best and most watched movies of all time. This stage production is adapted, by Owen O’Neill and Dave Johns, directly from the Stephen King novella which began it all, ‘Rita Hayworth and Shawshank Redemption’.

Given the success of the film adaptation, it may be rare to find anyone with no inkling of the plot. For those rarities, here’s a précis small enough to write on a postage stamp, fit in a nutshell and smuggle into a top security penitentiary.

Andy Dufresne, protesting his innocence, is convicted of the murder of his wife and her lover and sent to the Shank. Bullied and exploited by Warden Stammas and other prisoners, Andy is also supported by unlikely, new friend, Red. An eventual opportunity to appeal his conviction has implications for many around him.

At a time when male friendships and male mental health are increasingly under the spotlight, The Shawshank Redemption explores the redemptive power of friendship whilst tackling weighty, universal themes of injustice, institutionalisation, hope, fear and what it means to be human and free.

This is a solid, enjoyable production with a capable cast.

Joe McFadden is a familiar face from some long-running TV shows, including Holby City and Heartbeat, and, although this production doesn’t require him to show off his dance skills (winner of 2017’s Strictly Come Dancing), he doesn’t put a foot wrong and should expect a solid Se-ven from even the toughest judge.

Top of the leaderboard, though, is Ben Onwukwe. Having had his first outing in the role of Red in the production’s 2016 tour, it’s perhaps unsurprising that he performs his lines with perfect Recall (London’s Burning fans know) and puts in a nuanced and believable performance, nailing the (few and very fleeting) moments of wry humour with perfect timing. For those familiar with the film, this role is synonymous with Morgan Freeman. Freeman’s performance earned him a Best Actor Oscar nomination, although he was beaten to the gong by Tom Hanks for Forrest Gump. It is testament to Ben that he is, nonetheless, utterly believable in the role.

The remainder of the small cast provide admirable support. An honourable mention goes to Kenneth Jay as Brooksie, with a scene and story arc highlighting the harms of institutionalisation and the need for prison to rehabilitate, not simply punish.

The set is compact and effective, every scene using the whole stage. Large communal areas, such as the landing, yard and canteen, convert to small areas such as the library, a cell or an office via the addition of a partial wall and sparse furniture. Lighting is used to good effect, particularly when the focus is on Red as narrator.

All the ingredients are in place, but if one were to criticise the production, it is just that it falls a little flat.

The necessity for frequent scene changes creates a barrier to total immersion. The tension and bubbling undercurrent of violence to be expected of a maximum-security prison don’t simmer on stage. Key acts of horrific violence rely heavily on the narration: the fade-to-black staging is understandable, even necessary, but doesn’t elicit an emotional reaction. In between those violent moments, the violent acts sometimes appear forgotten. Finally, the characters of the wardens are only lightly sketched. As a result, two pivotal moments that rely on how manipulative and downright evil they, especially Stannas (Bill Ward), are, fail to entirely convince.

All that said, the plot is easy to follow and engaging. The staging is attractive. The performances are all capable. The Shawshank Redemption offers a diverting and undemanding escape from January doldrums.