THEATRE REVIEW: The Da Vinci Code - Theatr Clwyd, Mold.

‘The Da Vinci Code’ is of course one of the most successful novels of modern times and in common with both the Harry Potter and Millennium book series, is quite long, very complicated and operates on both present and historical levels. To transform such a work to the stage naturally requires a lot of stylisation and selective editing whilst aiming to adhere to the spirit and feel of the source work. 'The Da Vinci Code' presents additional challenges because much of the tension revolves around analysis of small objects which whilst reading well, might not work well on stage. Fortunately, the latest in stage technology has made possible a very creditable adaptation of this psychological thriller for theatre.

The adaptation writers Rachel Wagstaff and Duncan Abel maintained a regular correspondence with Dan Brown during the writing and so it is pleasing to report that as with the film version, any differences to the original story were minimal so Brown’s legions of fans can sleep soundly. In addition to excellent staging, the play frequently employed movie-style background music, definitely enhancing the tensions and frequent drama points in this fast-moving tale.

The stagecraft in this production was more akin to that typically employed in modern theatre-in-the-round with impressive representational items (often looking as if carved from solid stone) dropped and raised from the ceiling. These were used very effectively, allowing for flashbacks, such as during a key conversation inside an aircraft alternating with a past event in a church. The backdrops ranged from a simple backstage image to a powerful wrap-round video screen, in one scene showing Da Vinci’s ‘Last Supper’ dynamically up close with animations highlighting details. A large clear screen enabled codes to be written out and broken on screen as the cast performed both in and front and behind it. Overall, the play provided an object lesson in just what can be achieved today with the latest in multi-media film and animation gadgetry. The combined effect of all this, together with the music, created genuinely gripping and at times, astonishing theatre.

As Dan Brown’s readers will be aware, his books are essentially plot-driven with minimal character analysis and back-stories. The cast concentrated on the drama of the moment and created several periods of suspense and drama. It is worth noting that whilst being set in numerous locations across and around Paris and London, the vast majority of the entire story covers little more a single 24-hour period and a fast pace is necessary to bring this over. The cast succeeded in bringing over the main characters’ personalities in accordance with the book, indeed, very much on the lines of the film. Andrew Lewis (who was standing in for Danny John-Jules this evening), interpreted the role of eccentric aristocrat Sir Leigh-Teebing remarkably closely to that given by Ian McKellen (both audibly and visually). Nigel Harman as Robert Langdon and Hannan Rose Caton as Sophie Neveu worked well as the dynamic, investigative duo, whilst downplaying the national stereotyping presented in the film (Tom Hanks was very American and Audrey Taupau overtly French). In this stage production, the characters were more realistic and without the understated humour which characterised a lot of acting and dialogue in the film. That said, one topical joke in this play was certainly not in the book or the film; but had Sir Isaac Newton ever really self-isolated to avoid giving the plague to anyone?

This was an intriguing and very exciting dramatisation of a challenging subject in which technology and acting were used in harmony to great effect. If you love Dan Brown, you won’t be disappointed; if you don’t, you may still really enjoy this play as a tight, fast-moving and intelligent thriller.

Reviewer - John Waterhouse
on - 14.2.22