Review: The Shawshank Redemption (Richmond Theatre / UK Tour)

Review by Phil McCullough

⭐️⭐️⭐️⭐️

The stage version of The Shawshank Redemption has big shoes to fill. Stephen King’s novella became the basis for the beloved 1994 film, widely regarded as one of the greatest movies ever made and regularly appearing near the top of “best films” lists. Some scenes have become iconic in cinema history, from the “Suds on the Roof” sequence to that unforgettable twist you don't see coming. Comparisons are inevitable, and the weight of expectation is huge. Can this theatrical production recreate the magic of the film on stage, and does this new adaptation offer a fresh perspective on Stephen King’s story?

Stephen King originally wrote the novella Rita Hayworth and Shawshank Redemption in 1982. Set between the 1940s and 1960s, it opens a window into life inside the fictional Shawshank Penitentiary. It follows the story of Andy Dufresne, who is sentenced to two life terms for the murder of his wife and her lover, despite maintaining his innocence. As the decades pass, Andy survives by “getting busy livin’” and gradually becomes invaluable to the corrupt Warden through his financial expertise and fraudulent tax work. However, when new inmate Tommy Williams arrives with evidence that could reopen Andy’s case, the entire world of Shawshank begins to unravel. The story was adapted into the acclaimed 1994 film, receiving seven Academy Award nominations, including Best Adapted Screenplay. This current stage version was first adapted for the theatre in 2009 and has since undergone several rewrites for this UK tour.

Owen O’Neill and Dave Johns’ adaptation stays faithful to Stephen King’s novella and overall does an impressive job of bringing the story to life on stage. The novella is written in first person from Red’s perspective, and this adaptation wisely keeps that framing device intact. Through Red’s eyes, we learn about the inner workings of Shawshank, and his story is personal, funny and poignant. Through telling Andy Dufresne’s story, Red gradually reveals the inner workings of his own character too. The adaptation is well-paced, and Red’s monologues are cleverly used to clarify plot points that are harder to realise theatrically. This works particularly well during the climax of the production when Red describes leaving prison and embarking on the “treasure hunt” for Andy’s black rock.

David Esbjornson’s direction is simple, bold and effective. The entire production remains rooted within the world of Shawshank Penitentiary, with strong lighting and sound design helping to create atmosphere and define different spaces within the prison. The cinema room, for example, is created using little more than a flickering light while animated inmates sit watching a Rita Hayworth film. It's simple but works beautifully. The lighting design throughout is understated but highly effective, helping define the yard scenes from the interior scenes well, despite the largely fixed prison set. David Esbjornson handles the scenes involving the “sisters” sensitively yet they are genuinely harrowing. The violence of the action, combined with Red’s emotional narration, effectively conveys the horror of Andy’s ordeal without becoming gratuitous.

Music is also cleverly used to show the passing of time. Forties and fifties classics dominate the first half, while sixties music from artists like The Beatles and Bob Dylan helps transition the story into a different era. It was an emotional touch to use Thomas Newman’s Shawshank Redemption score during the ending as Red recounts reuniting with Andy. Personally, I would have gone one step further and also used the soundtrack during the “Suds on the Roof” scene as the inmates drink beer and briefly feel like free men in the first half. 

The set design sees the prison dominate the stage to excellent effect, with an upper balcony looming over the inmates, where armed guards stand ready to shoot at a moment’s notice. The uniformity of the set is actually one of its strengths, allowing the same space to convincingly become the yard, the laundry or the cells with only minor prop changes. Bed sheets, a football or simple furniture pieces are enough to transform the environment. These are all used effectively and are uncomplicated.

The standout performance comes from Ben Onwukwe as Red. His performance is funny, human and deeply relatable. He feels authentic, and his monologues are consistently engrossing. However, it is his chemistry with Joe McFadden as Andy Dufresne where the production truly come alive, particularly as their friendship develops over time. McFadden plays the role well and captures Andy’s quiet intelligence and resilience, although I struggled to feel entirely convinced by the performance, lacking a bit of emotion in a solid performance but one that didn’t completely blow me away.

Bill Ward is strong as Warden Stammas, although I felt he could have shown more restraint in the earlier scenes. Initially, he comes across as very one-note in his anger and intimidation. I would have liked more of a gradual reveal, allowing the audience to be deceived by the outwardly charming, God-fearing Christian persona he uses to mask his darker intentions. If the audience had initially believed the Warden might be decent, his later cruelty would have landed with even greater impact. That said, Ward’s explosive anger becomes incredibly effective during the climax of the production, where his rage is genuinely frightening.

Overall, I thought this was a very good production with some genuinely excellent moments. Theatre is an entirely different medium from cinema, so comparisons are never fully fair. However, this adaptation does manage to capture some of the film’s magic. Certain scenes, particularly “Suds on the Roof”, naturally work better on screen because cinema can fully capture the epic scale and emotional sweep of the moment. However, it is the intensity of the prison environment and the way the production captures humanity within such an inhumane place that truly makes it stand out. This is a strong adaptation that will satisfy both fans of the film and Stephen King readers alike.

The Shawshank Redemption plays at Richmond Theatre until 6th June. Tickets from https://www.atgtickets.com/shows/the-shawshank-redemption/

Photos by Jack Merriman