THEATRE REVIEW: The Shawshank Redemption - The Alhambra Theatre, Bradford.

It is proof of the greatness of a story when it is able to successfully transition across various mediums. This would seem to be particularly the case with ‘The Shawshank Redemption’, beginning life as part of a compilation of short stories and after a modest initial return at the box office, going on to become one of the most critically acclaimed and popular films of all time. This big-stage adaptation is faithful to the story in the movie, with all the main characters readily identifiable but just in case some have still not seen the film, no spoilers are to be given here.

Full justice to the dramatic setting of a maximum-security prison was done with the impressive set, from the overhead gantry with armed guards to rows of dim lights with metal protectors outside cell doors. The impression was stark and grim, providing a versatile backdrop to the various prison settings such as the library, the laundry or the governor’s office, all represented convincingly with items dropped from the ceiling. All of this however was the just setting to the powerful human drama that unfolded.

There have been many plays, films and TV series based around prisons, so what makes ‘Shawshank’ special that it resonates with so many people? The answer lies partly in that the central character Andy is the ultimate victim, sentenced for a murder he didn’t commit, brutally bullied by prisoners and cynically used by the governor and warders. Joes Absolom was well cast as Andy, presenting a calm, put-upon character with an indomitable spirit who never gives up hope. There was a kind of understated introversion of Abolom’s interpretation, reflecting the inner world of the undoubted pain Andy felt at the injustice being meted upon him.

The other key to the story is the prisoner who befriends him, Ellis, played by Ben Onwukwe, a long-term con who somehow never loses his sense of humour. ‘Shawshank’ is Andy’s story but Ellis’s ability to smile in the face of adversity is a vital element to what makes ‘Shawshank’ shine. If Onwuke Ellis was to be compared to anyone from Hollywood, it would not be that of Morgan Freeman but a typical Samuel L. Jackson character, who seems to specialise in adding to humour in the grimmest, most violent circumstances. In this stage version, Ellis was given quite a lot of time alone on stage to talk to the audience and Onwuke was adept in giving engagingly powerful monologues.

In ‘Shawshank’, the main villain is the corrupt Warden, in this case Stammas, played by Mark Heenehan, without a shred of any human sympathy or compassion for anyone. There were some very nasty prisoners in with Andy, but Stammas was the one people were rooting to see fall, in no small measure down to the callous coldness displayed by Heenehan. For good measure, the brutality of the guards personified by Hadley played by Joe Reisig, was an important part of the prisoners dilemma, aside from their own brutality to each other. This was brought to the fore by Leigh Jones’s Rooster; an effective portrayal of a man seemingly damaged by the system. His constant laughter was manic and escapist, a million miles from the stoic good humour of Ellis. At the other extreme. Kenneth Jay’s quiet little ‘Brooksie’ had become so institutionalised that the thought of leaving prison led him to consider suicide. This was the world Andy’s hope and Ellis’s humour had to overcome and that the audience wanted to see succeed.

‘Shawshank’ is a story of hope and survival in the face of extreme adversity. It is the kind of story that people want, perhaps even need, and watching this unfold live on stage can hardly fail to lift people’s spirits in these troubled times.

Reviewer - John Waterhouse
on - 20.3.23