The Da Vinci Code, Salisbury Playhouse Review
Joe Bannister (Robert Langdon) and Georgia-Mae Mayers (Sophie Neveu). Photo: Manuel Harlan
Written by Charlotte C for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Note: This production contains haze, strobe lighting, depictions of violence including gunshots and weapons, simulated sex, full nudity, self-harm, kidnapping, blood and themes of death and murder.
Earlier this year, Wiltshire Creative staged their lively production of Alfred Hitchcock’s The 39 Steps — and this time, they have attempted an “electrifying stage adaptation” of Dan Brown’s novel-turned-blockbuster The Da Vinci Code, which promises to “come alive in a way you’ve never seen before.”
This adaptation is written by Rachel Wagstaff and Duncan Abel, who also adapted The Girl on the Train for Wiltshire Creative in 2023. The story follows Robert Langdon, professor of religious symbology, and cryptologist Sophie Neveu as they embark on a quest across France and the UK to uncover the mystery behind a brutal murder at the Louvre. As they work to untangle clues hidden in world-famous works by Leonardo da Vinci, they begin to realise what they’re uncovering might alter the course of history.
On entering the auditorium, it seems at first that the stage is very plain without a great deal of set — but anyone who has seen previous productions at the Playhouse might know that this can be utilised in a number of imaginative and creative ways. The black box set with simple stairs at the back became many different settings, from exhibitions at the Louvre in France to a bank chamber to a private plane. Props, backdrops and projections are used to convey a sense of place, and to set the scene as the characters travel across Europe.
The projections were mostly effective in doing this, but there were a few times when there would be a close-up on the back wall of a character’s face or a prop a character was holding that felt a little jarring. For example, there’s a scene in which Silas is talking to a camera while harming himself, and his face on stage is incredibly animated but the close-up on just his eyes on the back wall seems almost static and unnecessary. There were a few instances of this. However, these are few and far between, and the way that the screen is used otherwise is a lot more effective — for example, in showing words shuffling as anagrams are solved, or the numbers of the Fibonacci sequence which become a big clue in solving the case.
But the biggest strength of this adaptation is in the performance from the stellar cast. Joe Bannister and Georgia-Mae Myers lead as Robert Langdon and Sophie Neveu, delivering rational and charismatic characters with great chemistry and excellent American (Langdon) and French (Neveu) accents. Philip Bretherton portrays Sir Leigh Teabing with an undeniably huge stage presence. But the biggest standout is Joe Pitts as Silas, whose portrayal of a devoted but troubled monk still makes the audience feel for him. Some of his scenes, often with him alone on stage, are genuinely chilling.
Whether you’ve read or watched The Da Vinci Code or know nothing about the story, this production directed by Chelsea Walker will have you hooked. There’s a perfect mixture of darkness, intrigue and light, comedic moments too, garnering both gasps and laughter from the audience.
At Salisbury Playhouse until 3rd May and Mercury Theatre Colchester from 7th to 24th May.
★★★★
