Patrick Hamilton
Theatr Clwyd production
Theatr Clwyd
July 2 - 20, 2024; 2hrs
Patrick Hamilton's 1929 thriller Rope is a striking play in many ways; the audience is drawn into the mood from the opening scene to the denouement.
The premise is simple, but turns on its head the traditional murder mystery. We know two men, Brandon and Granillo, are guilty of murder, but can they get away with it? The delicious thing is that the lead character, Wyndham Brandon (Jack Hammett), is supremely confident he has committed the perfect crime, and wants to glory in this fact by inviting the family of his victim – among others – to dine with them. The arrogance of the pair is that the victim is inside the chest on which the meal has been laid out!
The cast of Theatr Clwyd’s production approaches this sombre topic with imagination and commitment. Francesca Goodridge's production shows a marked contrast between Acts 1 and 2. In the first, the scene is set and characters introduced and the supporting cast members add a comic touch, especially Emily Pithon as a monosyllabic companion to the father of the deceased, and Felipe Pacheco as Sabot the butler, who exhibita considerable presence on stage. There is an impressive use of movement throughout, with some skilfully-choreographed scenes that capture the attention.
The climax in the second act is both dramatic and profound. Chirag Benedict Lobo as Charles Granillo, one of the perpetrators, is an impressive drunk. Tim Pritchett as Rupert Cadell grows in stature as he slowly comes to a realisation of what has happened, and confronts the murderers. Jack Hammett displays a convincing, class-bound arrogance and eloquence that leads you to believe he might just be successful in his foul mission.
The play is a wonderful illustration of how vacuous people can be to keep up appearances. This lulls the murderers into a feeling of contempt for those who appear beneath their status and gives false validation to their actions – validation shot down when confronted by the truth.
For those with knowledge of crime history, the play is a reaction to the notorious case of Leopold and Loeb, found guilty of the meaningless, motiveless murder of a 14-year-old boy in 1924 just to prove they could. Famously, they were defended by famous lawyer Clarence Darrow in a landmark case against the death penalty. Being clearly guilty, the noose was the only punishment option available, but Darrow had it successfully commuted to life plus 99 years. Hamilton’s play decries the savage nature of this crime.
There is much to be admired in this production. It brings to life the vitality of a play that has received moribund reviews in recent years. Well presented and offering much food for thought, in offers a troubling story even for our supposedly enlightened times.
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