The world premiere stage adaptation of the iconic 1952 western High Noon has arrived at London's Harold Pinter Theatre, but does it deliver the tense, cautionary punch its producers intended? Starring Billy Crudup as Sheriff Will Kane, this new production directed by Thea Sharrock offers solid performances but struggles to build the nail-biting suspense of the original film.
A Modern Parable Misses Its Mark
It's hard to imagine the cast, led by Crudup, didn't have contemporary American politics in mind. The story of outlaw Frank Miller returning for revenge on the lawman who jailed him feels ripe for modern parallels. Yet, the play's central struggle—the sheriff's plea for the fearful townsfolk to stand and fight—often lands with the urgency of a PE teacher rallying reluctant teens for a cross-country run.
Crudup's Sheriff Kane, adapted for the stage by Frank Miller (screenwriter of Forrest Gump), is notably warmer than Gary Cooper's stern film portrayal. While this adds depth, it arguably diminishes the character's gritty, resolute authority in the face of looming violence.
Standout Performances in a Claustrophobic Setting
Individually, the cast delivers strong work. Denise Gough brings a gutsier, more conflicted energy to Kane's pacifist bride, Amy Fowler, than Grace Kelly's more fragile interpretation. Billy Howle adds sleazy charisma as the deputy, Harvey.
The most compelling performance comes from Rosa Salazar as Helen Ramirez, the saloon owner and pragmatic sex worker who serves as the town's tough moral compass. Her portrayal is a highlight of nuanced strength.
However, Thea Sharrock's production falters in its atmosphere. Designer Tim Hatley's set feels claustrophobic and barn-like, failing to evoke the vulnerable, wide-open spaces of the dusty Midwest. A prominent station clock, meant to heighten the countdown tension, ironically lacks urgency—a watched clock never boils.
Yearning for Nostalgia Over Genuine Fear
Snatches of song, including Bruce Springsteen's 'I'm On Fire', underscore a yearning for old-school values of decency and the rule of law. Yet, what the audience truly craves is not nostalgia, but to feel their hearts in their mouths as the clock strikes noon for the final showdown. That visceral fear is notably absent.
High Noon runs at the Harold Pinter Theatre in London until March 6. It is a handsomely acted piece that, despite its timely themes, never quite manages to marshal the gripping tension its legendary story promises.
Also in London Theatre: Gerry & Sewell and Orphans
Elsewhere in the West End, Gerry & Sewell offers a raucous contrast at the Aldwych Theatre. This indelicate snapshot of life on benefits in Gateshead, following two teenage delinquents desperate for Newcastle United season tickets, is a chaotic sociological safari.
Despite a premise that could seem naïve, Jamie Eastlake's production, starring Dean Logan and Jack Robertson, transforms its impertinence into something novel and compelling. It runs until January 24.
Meanwhile, at the Jermyn Street Theatre, Al Miller's gripping revival of Lyle Kessler's Orphans presents an unnerving world of violence and absurdity. The play explores the power dynamics between two orphaned brothers and the older man they kidnap, with strong performances from Chris Walley, Fred Woodley Evans, and Forbes Masson. It also concludes its run on January 24.
