Review: The Fear Of 13 (Donmar Warehouse)

Review by Daz Gale

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A change has come to the Donmar Warehouse. After outgoing artistic director Michael Longhurst finished an incredible run, resulting in countless critically acclaimed shows and West End transfers, it is time for new artistic director Tim Sheader to take the reigns, kicking off his first season with inaugural production The Fear Of 13. Already gaining attention thanks to its inspired lead casting of Adrien Brody, it’s safe to say he would have a tough act to follow, filling some incredibly large shoes. Could The Fear Of 13 prove to be another triumph for the consistently impressive Donmar?

Based on the documentary film by David Sington, The Fear Of 13 tells the extraordinary true story of Nick Yarris. After a routine traffic stop turned into a conviction for murder, Nick spends the next 22 years on Death Row. The only problem is he didn’t actually commit the crime. As he tells his story and the unbelievable other stories that led up to that moment, delays and mishaps means the truth may never come out, with a defeated Nick asking the court for his execution date. Would this be one story that gets a happy ending?

The story itself may be incredible, but it is Lindsey Ferrentino’s breathtaking writing that elevates it to a powerful new level. Events are described in stunning detail with situations painted out in a way that brings the story to life, with Ferrentino demanding you use your imagination to fill in the gaps while listening to the words of the story, Told with sensitivity, there is a sense of gritty realism to the story, with the truth about Nick Yarris and those 22 long years allowed to breathe in a singular act of one hour 45 minutes that goes by quicker than any play I have ever seen before.

While the story may be no laughing matter, Ferrentino’s writing allows for a few humorous momenta, encouraging the audience to laugh at some of the far-fetched aspects as Nick’s seemingly unbelievable stories leave room for interpretation, with some ingenious one-liners thrown in for good measure. Ferrentino has an unrivaled ability to connect with the audience, ensuring that whatever emotion she wants them to feel sure enough happens with ease. This does mean that the less humorous moments prove to be incredibly powerful and affecting, with audible sobs being heard around the theatre. Very rarely in all my years of theatregoing have experienced an entire audience filing out of a theatre in stunned silence following a show. That happened with The Fear Of 13 as we all took in the enormity of what we just witnessed, unable to form any words yet.

Though Donmar Warehouse is a fairly intimate theatre at just 251 seats, the versatility in their staging continually impresses, whether it’s dropping a house from the ceiling (not killing any wicked witches this time, however) or transforming the theatre into a ski slope (no, really), the quality of staging is always unparalleled.  The staging in The Fear Of 13 is another example of why the Donmar continues to be one of the most exciting spaces for theatre in London. Miriam Buether’s exquisite set design turns the space into prison with a small main stage surrounded by stage and a walkway behind the first row representing prison showers. The attention to detail extends to the circle too with the “fences” adorned with prison signs. The drastically different design elements impress before the show has even started with a meticulous attention to detail and some magical quick transitions making full use of the mirrored room behind the stage.

The expert design sets up Justin Martin’s direction, ambitious and perhaps unconventional in its approach but faultless in its execution. Cast members position themselves in and around the audience (if you are sat in the circle, don’t think you can escape), ensuring the already intimate space has all the walls torn down to create a no-holds-barred, very personal experience. Giving the illusion that we are in the prison with Yarris, the direction works in tandem with Ferrentino’s mind-blowing writing to create theatrical heaven. The Fear Of 13 is a show where a great deal of care and thought has been taken for even the most minor of details. This allows for a pure and unfiltered connection most shows rarely manage.

Music provides a surprising but welcome element to this play, with cast members surrounding the audience at various opportunities, singing and harmonising (Fans of The Temptations will be treated to not one but two of their classics). This creates a beautiful and ethereal sound, leading to an intense atmosphere and again helps with the stunning connection that makes The Fear Of 13 such a remarkable show. Ian Dickinson’s sound design and DJ Walde’s music direction brings an additional level of emotion to this poignant and powerful production.

Much has been made of Adrien Brody making his London theatre debut in this production. To see such a gifted and acclaimed actor in a space as intimate of this was already guaranteed to be a special experience. However, what Brody does in this play needs to be seen to be believed. It would not be an exaggeration to describe Adrien Brody as Nick Yarris as one of the greatest feats of acting I have ever seen. Witnessing his talents up close and personal leaves you in no doubt why he has won an Academy Award but not one to rest on his laurels, Brody delivers what is a strong contender for the greatest stage performance of the year.

Nick Yarris is a complex individual who seemingly is an open book, happily recounting his varied and unbelievable stories to anyone who will listen. Though his life is rooted in tragedy, he remains optimistic for his future and full of love. Brody encapsulates this perfectly, transforming into Yarris with such an intuitive intricacy, it is easy to forget you aren’t watching the real person. Whether he is holding the stage on his own, interacting with cast members or even eye-balling audience members, there is such a captivating and commanding nature to Brody and an ease in his performance, even though the role is surely incredibly demanding. It is impossible to take your eyes off of him as Brody delivers an emotional, raw and honest performance that is, without doubt, one of the greatest acting performances I have ever seen.

It would be easy to dismiss The Fear Of 13 as “the Adrian Brody show” but this is more than just a one-show. Nana Mensah is equally thrilling as Jackie Schaffer, a visitor who attempts to learn Yarris’ story before becoming more invested than she would ever expect. As the audience learn the story through Schaffer’s eyes, Mensah’s empathy is designed to be mirrored by all of us watching the events unfold, and her ability to represent this is a testament to her undeniable skills as an actor. In a performance that requires her to be tough and hold her own at certain moments and more vulnerable in others, her authentic and sympathetic portrayal is a joy to watch. A special mention must also go to the endless quick changes Mensah has to do, never missing a beat in doing so. With Mensah also making her London theatre debut, I sincerely hope this is the last we don’t see of her talents on this side of the Atlantic.

The remaining cast members all play a variety of roles, listed only as “inmate” each in the programme. Impossible to separate in terms of their performances, they are all sensational in their transitions to varied roles. Highlights include Posi Morakinyo’s soulful singing, Michael Fox’s questionable lawyer and Tommy Sim’aan’s multiple interactions. Ferdy Roberts gives a memorable and menacing turn early on while Cyril Nri goes big and bold with his appearances, wowing every single time. The cast is completed by Aidan Kelly’s Guard who himself goes on a journey and always delights with his appearances.

An inspired touch after the cast have taken their final bow featuring the real Nick Yarris hits home just how powerful this story really is. This isn’t fiction – this is an example of injustices in the system, with the programme going to great lengths to draw comparisons to the sub-postmasters scandal that has come into more prominence this year. It is the real life comparisons that make The Fear Of 13 so thought-provoking and powerful. Few shows can affect me as profoundly as this one did, with its ability to connect and tear down the walls between cast and audience the perfect example of what theatre can achieve at its very best.

I have said this multiple times throughout the year but there have been some incredible plays premiering in London over the course of the last few months – The Fear Of 13 is one of the best I have ever seen. Between Lindsay Ferrentono’s miraculous writing and Justin Martin’s vulnerable direction, the combination leads to the perfect example of the art of storytelling. I don’t use that word lightly, but I can’t think of any other way to describe this show other than perfect. Add in the factor of Adrien Brody delivering one of the all-time great performances in London theatre and you are left with something completely awe-inspiring.

If this is the standard we are to expect from Tim Sheader’s time there, the Donmar Warehouse is sure to go from strength to strength. When it comes to this show, The Fear Of 13 really is terrifyingly brilliant.

The Fear Of 13 plays at Donmar Warehouse until 30th November. Tickets from https://www.donmarwarehouse.com/whats-on/36/by-lindsey-ferrentino/the-fear-of-13

Photos by Manuel Harlan