It was never going to be easy. The task of staging the celebrated 1982 Stephen King novella Rita Hayworth and Shawshank Redemption and the 1994 film version starring Tim Robbins and Morgan Freeman, would be marked by the setting of a very high bar indeed.  With this production, writers Owen O’Neill and Dave Johns have met the challenge with aplomb. 

The story centres around the miscarriage of justice meted out to Andy Dufresne, who is now serving a double life sentence for murdering his wife and daughter, at the Shawshank Maximum Security Penitentiary (“The Shank”).  Narrated via Andy’s friend Red, we learn the fate of the protagonist told over two decades of incarceration, creating a vivid depiction of corruption, bullying and violent abuse. 

Joe McFadden (Holby City; winner, Strictly Come Dancing), shines in the role of Andy.  Capturing his obvious intelligence and skill in accounting, desire to do anything he can to make the lives of (most of) his fellow inmates a little more tolerable, while at the same time delivering a steely character and a fastidiousness many on the outside would fail to achieve, McFadden manages to inject a boyish charm into the role, difficult to achieve when portraying an alleged double murderer. 

The role of Ellis “Red” Redding is played by Ben Onwakwe (London’s Burning; Professor T). Drawing the audience in to the narrative with his witty, sardonic storytelling, Onwakwe is a fitting contrast to McFadden, portraying Red as a world-weary prison fixer who has seen it all. Shout-outs must also go to Kenneth Jay as poor old Brooksie, terrified of gaining parole as he feared lack of purpose on leaving his role as prison librarian, and Bill Ward as Warden Stammas, a frightening figure open to corruption and intimidation with a vicious cruel streak thrown in. 

The prison setting worked extremely well in being versatile enough to depict the prisoners’ cells, the courtyard, the refectory and the library with a few deft adjustments. A one-colour greyness enveloped the stage, which is only augmented by the blue denim of the inmates and their drab shirts. With a few more switches of furniture, we are transported to the parole office, all carried out seamlessly and with conviction. 

And what a joyous scene to end the play, with Red leaving the prison then a clever switch of scene (kudos here to the lighting team) to a full backdrop of Andy on his long-dreamt-of Mexican beach at sunset in Hawaiian shirt, shorts and sandals. Reminiscent of a Martin Parr colour-saturated photograph, the contrast with, and relief following, the dreary prison interior, was palpable amongst the audience members around me, and a fitting ending to a glorious production. 

The productions runs till the 17th Jan. You can find out more and purchase tickets here