Don't Look Now at Salisbury Playhouse Review
Written by Charlotte for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
This production contains flashing lights, violence, blood, partial nudity, themes of grief and child loss, and scenes of intimacy.
Wiltshire Creative, in association with other theatres around England, have been on a winning streak lately with hilarious comedies like The 39 Steps, to darker, more tense dramas like The Da Vinci Code. So does their latest production, a new adaptation of the Daphne de Maurier classic Don’t Look Now, live up to expectations?
The play follows a couple, grieving the loss of their young daughter, as they escape to the canals of Venice. They hope for a reprieve from their misery – but the city has other plans. As they are haunted by eerie visions and claims of the supernatural, can they really escape their destiny?
As somebody who isn’t familiar with de Maurier’s original novel, the story was sometimes a little unclear, particularly around a reveal related to John, one of the protagonists. There is a big supernatural element to the story, but it was left a little under-developed and not explored in great depth, so the play ended with questions left unanswered. But otherwise, it was engaging, tense, and the opening scene was an incredibly unique way to start the show and build suspense before the house lights even went out. (No spoilers – you’ll have to see for yourself!)
Although sometimes leaning slightly towards melodramatic, the cast’s performances carried the story well and brought the characters to life — particularly Mark Jackson as John, and Alex Bulmer and Olivia Carruthers as two sisters whose purpose was to reveal dark truths to John and his wife Laura, which would ultimately lead to the couple’s concern for their own safety and sanity.
Professional productions at Salisbury Playhouse typically have stunning and clever sets, and this one was no exception. Audiences may wonder how the streets of Venice can be brought to life on the stage, but it’s done well with a multi-level set with hidden doors and furniture that appears from the walls in between scene changes. Projections are used throughout and, much like The Da Vinci Code earlier this year, they may not have always been completely successful in adding to the story, but they did add visual interest and context to the scene alongside an otherwise minimal set dressing. All of this made for smooth and impressive scene changes, from England to Italy, and hotel rooms to restaurants.
Described as “a spine-chilling descent into grief, guilt and the terrifying power of premonition”, this suspenseful production is perfect viewing as the dark creeps in and we seek out stories that give us a chill!
Don’t Look Now is at Salisbury Playhouse until 15th November.
★ ★ ★
