Matthew Bird
Fatal Attraction has arrived at Nottingham’s Theatre Royal for only a three-day stop, between 17th and 19th February. Matthew Bird discusses the production and its key features.
Those with a love of bunnies would best avoid the latest production at the Theatre Royal in Nottingham. Based on the cult 1980s film classic, Fatal Attraction tells the story of Dan who has a one (technically two) night stand with femme fatale, Alex. Tensions build as Dan continues to hide this from his wife Beth, whilst Alex grows ever more obsessed with him, revealing she is pregnant with his child.
The adaptation was written by James Dearden, who wrote the original screenplay. Fans of the original may be disappointed by some of the changes made to the script, especially as the play reaches its conclusion. However, despite this, the play works well to build up tension throughout. Unfortunately, this build-up does not lead to a satisfying pay-off, with the ending strikingly anti-climactic. It should be said, however, that this new ending was the one Dearden originally wrote for the film.
An ever-present ominious soundtrack underscores every scene
The highlight of the production is the stunning sound (Carolyn Downing and Paul Englishby) and stage design (Morgan Large). An ever-present ominous soundtrack underscores every scene, with deep bass heightening the tension further. The seemingly simple set transforms from interior living rooms, to bustling New York, and tranquil suburbs, through the clever use of projection mapping, some well placed props, and moody lighting design (Jack Knowles). Combined, these elements help to firmly place the audience into the world of the play from the start.
Alex and Dan are portrayed by Kym Marsh (Coronation Street, Hear’Say) and Oliver Farnworth (The Girl on the Train – UK tour), respectively. Both leads are excellent in their roles, and the chemistry between them is strong. As such, it is a shame that this chemistry isn’t given more opportunities to be explored, given that many of their interactions take place over phone and video calls, and there are surprisingly few forays of intimacy, given the source material. Kym particularly excels during her character’s moments of complete desperation and spiralling descents into chaos.
The production is modernised right up to COVID-19
The supporting cast mostly hold their own, with a particularly strong performance from John Macaulay as Jimmy. Sadly, during a few scenes of heightened emotions and raised voices, some of the actors’ American accents noticeably slipped, taking me out of the moment.
Despite being an adaptation of a 1980s film, the production is modernised right up to COVID-19; fist bumps are placed in seemingly only for comic effect (given that they are kissing strangers only moments later).
Overall, despite the strong cast and excellent design, the lack of twists and a lacklustre ending means Fatal Attraction isn’t a play that will stick in the mind for long.
Matthew Bird
Featured image courtesy of Alex Watkin. Permission to use granted to Impact. No changes were made to this image.
In-article image by Tristram Kenton courtesy of Nottingham Theatre Royal. No changes were made to this image. Permission to use granted to Impact.
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