Right from the outset, this production grips you. It’s like being pushed into a pool in the sunshine: holding your breath at the last minute, yet realising you’re not out of your depth after all. Time almost stands still as the immaculate performance of Ed McVey in the titular role grips you and takes you on one of the most extraordinary journeys to grace the stage.
Known by many as the Oscar nominated film from 2000 starring Matt Damon and/or the 2024 Netflix series starring everyone’s favourite Andrew Scott, this also has the flavour of the original novels by Patricia Highsmith. Many adaptations from this selection of media falter when they transfer to the stage, to which we say, go to Mark Leipacher who adapted and directed this, and worship at his feet. This is easily the best adaptation in Brighton this year, possibly this decade. It’s hard to think of one better.
The multiple locations are achieved through some moving set pieces, minimal props, incredibly effective lighting and mainly through using cast members as moving set pieces, working in complete synchronicity. Some of the slow moving exquisitely timed background sections are utterly captivating: who knew that watching people slowly fold their arms together would be so evocative of a mood, or using squares to become a moving boat sail in the sunset, or using Venetian masks as people then suddenly pigeons. Suitcases have so many multiple uses including trays in a restaurant, all moving at exactly the same pace in almost a slow dance around the characters. This is jaw dropping movement work and timed to perfection throughout the whole show.
All these things are the fabric through which Tom Ripley weaves the disturbing tapestry of his story. Ed McVey is a tour de force in this role, becoming Ripley completely in all his complexity and disturbing inner monologues which we become privvy to. “Have you ever had the feeling you’re being watched?” he challenges us with irony, yet so aware of exactly this knife edge on which he lives his life. Some may concentrate on the sociopath and narcissistic elements of his personality: it’s fair to say he would keep a whole team of psychiatrists busy for a good many years.
What’s so interesting about Ripley is the honestly with which he gives us access to his every emotion, his fears, his insecurities and his desires, how he plays out different options in his mind, punctuated with cuts and resets, and how the other actors sometimes become the tumult of all of his emotions in the background almost like a Greek chorus, or as he says, haunting his mind “like furies”. McVey’s impassioned powerhouse performance is absolute perfection, showing ambition, vulnerability and many disturbing motivations, garnering sympathy for Ripley from us all; even though we see first hand, with brilliantly choreographed fight scenes, what he is capable of. Macbeth’s “Tomorrow and tomorrow and tomorrow” is incredibly aptly quoted in one scene, adding even more layers to the multiple facets of his psyche.
There are so many standout moments in this, not least is where Ripley morphs into and becomes Dickie Greenleaf, beautifully realised by Bruce Herbelin-Earle. The difference in physicality between the two portrayals is stunning: privilege oozing from every pore of the rich Greenleaf compared with hesitant impoverished Ripley who wants everything the former has. Watching McVey become Herbelin-Earle in physicality, bearing and presence then adding the voice on top, was jaw dropping. The way they continue to morph into each other in scenes after this shows the extent of Ripley’s obsession and desire, and that he really has absorbed some of his friend in the eeriest of ways. The rest of the cast are universally super to watch, including an emotion filled voice breaking moment from Christopher Bianchi as Herbert Greenleaf in a letter to Ripley, and a genuinely tender portrayal of love from Jason Eddy.
This is a fascinating story, beautifully and powerfully told. It’s unapologetic, bold, uncomfortable in places and deeply disturbing; yet a fascinating study of a seriously unwell individual told from his own point of view. He lives on fear, always thinking he is about to be rumbled, yet tries always to style it out. It’s psychologically shocking in places, not for the faint hearted. But you will not find better acting than this, and you will not find a better adaptation to stage of a highly complex story with a highly complicated lead character. Absolutely majestic.
Theatre Royal Brighton, 27 October 2025
The Talented Mr. Ripley runs until 1 November 2025
Photos credit: Mark Senior
