Envy, obsession, fear. Sydney Theatre Company’s gripping production of The Talented Mr Ripley wrestles with the darkest depths of humanity.
The Talented Mr Ripley was published in 1955 as a novel by Patricia Highsmith. Tom Ripley, a rootless, ne’er-do-well New Yorker, falls into the orbit of Dickie Greenleaf, the scion of a shipping magnate, who’s escaping his responsibilities in Italy.
Ripley becomes enamoured of Dickie, and Dickie’s life. As his obsession heightens, the lengths to which he will go to preserve his place in it only increase.
The Talented Mr Ripley has been adapted many times since 1955 – an iconic 1999 film starring Matt Damon, last year’s Netflix series starring Andrew Scott – and it’s heavily inspired other works, like 2023’s Saltburn.
With so many adaptations floating around, the bar is high, and STC’s moody, flawlessly executed new production more than clears it. The play is adapted by Joanna Murray-Smith and directed by Sarah Goodes, joining forces again after their popular production of Julia in 2023.
In Murray-Smith’s hands, the play leans heavily on Ripley’s (spoken) interior monologue, interspersed with vignettes of dialogue. It’s a smart choice that underscores Ripley’s fundamental alienation from those around him, and the pretences he maintains even to himself.
Running at more than two hours, without intermission, this choice asks a lot of Will McDonald as Ripley, who is on stage and speaking nearly every second. He’s more than up to the task, with a portrayal that evolves over the play from hapless rogue to cunning opportunist.
McDonald’s intensity never wavers. Hard to watch at times, his Ripley is both pitiable and terrifying. The psychological tension is heightened by Goodes’ crisp pacing and the tight focus on Ripley’s unravelling mind, which keeps the audience uncomfortably close throughout.
Roman Delo is also a standout as a disdainful, spoiled, mercurial Dickie Greenleaf. A scene where he dances in a jazz club is a highlight. His litheness of limb and total lack of embarrassment convey the ease of privilege more effectively than any spoken word.
Claude Scott-Mitchell moves through sunniness, petulance, and fear as Marge, Dickie’s partner. Faisal Hamza is charming as loveable rascal Freddie, Dickie’s friend.
Andrew McFarlane injects real humanity into his portrayal of Dickie’s shipping executive father, and Johnny Nasser is suitably suave as Inspector Rolverini.
The production is stylish and evocative. In the hands of set designer Elizabeth Gadsby and lighting designer Damien Cooper, a bare, concrete backdrop and well-placed spotlights create stark, atmospheric shadows.
In Italy, the supporting cast is used to evoke scene changes. Dressed as resort attendants, they proffer beach umbrellas and wind machines.
Costume design by Emma White, particularly Dickie’s wardrobe, is stunning. It’s easy to see why Ripley becomes obsessed with Dickie’s life when it looks this elegant. There’s attention even to the fit; relaxed, silky ease for Dickie, the slightly taut, ill-fitted look of a borrowed suit for Ripley.
Sydney Theatre Company have produced a skilled and gripping production of a timeless classic. The Talented Mr Ripley is playing at Arts Centre Melbourne for a limited season.
Sydney Theatre Company’s The Talented Mr Ripley runs to 23 November at the Playhouse, Arts Centre Melbourne. 100 St Kilda Road Southbank Vic 3006.
Tickets are available here.
Website: https://www.artscentremelbourne.com.au/whats-on/2025/theatre/the-talented-mr-ripley
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Photo credits: Cameron Grant
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One response to “Review: The Talented Mr Ripley Brings Killer Style To Melbourne”
I thought everything about this play was brilliant. The story so clearly told by McDonald, the intensity ever building. I especially loved the dance scene and was mesmerised by Delo.
The only criticism I would have, and I realise it’s a personal thing, and I was close to the stage, I felt Claude’s costumes looked cheap and dowdy on her.