The Lovely Bones, Birmingham REP - review with pictures
When an author writes a novel the relationship is between the writer and each individual reader.
If that novel is then turned into a film you have to rely on the director’s interpretation of events, but since many films these days are seen on-line the response is mainly still a personal one.
However, when a novel is adapted for the stage then the adaptor is looking for a collective response from the audience: too much over the top and the audience starts walking out or the production misses the point and becomes predictably boring.
There is no chance of that happening with Bryony Lavery’s adaptation of Alice Sebold’s best-selling novel The Lovely Bones, which arrives by way of Peter Jackson’s film version.
This story of child abduction, rape and brutal murder, based on true events, may not provide an evening of light hearted entertainment, but it is always emotional and highly thought-provoking.
When Susie Salmon is murdered for some reason she has to stay in Limbo, while some Heavenly administrative details are resolved. She can alternate between Earth and Limbo, she can see and hear what people do and say, but she is not allowed to communicate with them.
Charlotte Beaumont plays the role to perfection, showing that even a 14 year old ghost can still be a stroppy teen-ager, while trying to come to terms with the fact that she must relinquish her ties to life on Earth.
Her mother, portrayed by Emily Bevan, unable to cope with the pressure eventually deserts her family, while Jack Sandle, as husband Jack, fails to accept the prospect of any closure in the case. Ayoola Smart, as Lindsey, and Natasha Cottriall, as Buckley, are the two sisters who also find it hard to accept the loss of their young sibling.
Keith Dunphy’s Mr Harvey we learn has been massively abused in his childhood to become the monster that he is and fully deserving of his come-uppance.
While director Melly Still has drawn brilliant performances of all the talented actors at her disposal her production is always controlled and highly dramatic. It benefits from Ana Ines Jabares-Pita's marvellous set with its hidden dark nooks and crannies and ominous mists. Matt Haskins provides some effective strobe light effects and there is some evocative sound backing.
It’s a most gripping performance and its message is both poignant and highly emotive. This joint production by Birmingham REP, Northampton’s Royal and Derngate Theatre, Northern Stage and Liverpool Everyman Theatre runs at the REP until 10th November.
