Condensing a blockbuster book and Hollywood movie is never an easy task, so credit to Rachel Wagstaff & Duncan Abel for creating a fast paced, dynamic show which does almost leave you gasping for air as the revelations are bluntly revealed in quick succession. The story is very much the same, following symbologist Robert Langdon (Nigel Harman) and cryptologist Sophie Neveu (Hannah Rose Caton) as they solve the mystery around her grandfather’s murder. While retaining its essence, the play inevitably lacks the details of a 600-page book.
Perhaps eliminating the who dunnit aspect was a strategic choice considering the majority of the audience will already be aware of the story’s twists, but it certainly took away some of the fun of the mysterious tale. The relentless plot pushing meant that any opportunity for emotional connection with the characters was quickly pushed aside, so even Sophie’s grand reveal fell flat.
Nigel Harman opted to divert from the brashly controversial professor Langdon portrayed in Dan Brown’s novel, and presented us with a bumbling dork, which could have been endearing if his faux American accent wasn’t so annoying and if there was enough time for character development. The lack of chemistry between Langdon and Sophie made much of the dialogue seem like two separate conversations rather than gelling and bouncing ideas off each other leading to rather two-dimensional protagonists.
Joshua Lacey as Silas was most convincing with his multitudinal screams of pain, although again the lack of back story leaves the audience confused over his motivations rather than sympathetic, or able to criticise his indoctrination.
The set, designed by David Woodhead, was cleverly designed, incorporating a backdrop screen to provide close up visuals – essential in a show centred around artwork.
The choreographed movement and unison chanting wasn’t so inspired. If you choose to mull it over, it could be considered reflective of the rituals mentioned throughout, but in the moment it comes across as amateur, reminiscent of students attempting to be edgy for their first GCSE drama performance.
Ultimately, the audience is left with more style over substance.
The Da Vinci Code plays at the Belgrade Theatre until 26 February before continuing its UK tour. Tickets can be purchased here.
***
Katie Reviews 