Review of Fatal Attraction at Royal & Derngate (Derngate), Northampton

Fatal Attraction is one of those iconic films from the eighties which you might think you have seen, but possibly not, even though you know of it so well. For many, it is all about a famous scene featuring a rabbit, and that scene is one of the most expected clearly by the audience in this stage play, judging by their reaction every time the rabbit it mentioned. However, of course, this is more than a rabbit scene, but is this touring production actually an attractive prospect itself?

The original films writer James Dearden adapted this stage version, originally seen in 2014. The story opens by introducing Dan Gallagher (Oliver Farnworth), who is a supposedly happily married New York attorney. After a chance meeting with a young woman, Alex, played by Susie Amy, and a one-two-night stand, Gallagher’s world and the world of his family unravel beyond his control.

For those very familiar with the original 1987 film, I could describe this stage production as Fatal Attraction-lite, a sort of condensed version, lacking in some of the drama, some of the key story elements from the film (including the actual reinstated ending from Dearden’s first draft, rather than the more dramatic film ending), and certainly lacking A-list acting of the film.

Partially Fatal Attraction suffers from celebrity casting, which I have a serious aversion to. All three of the leads do their very best, but you have to wonder how strong this show could have been with more experienced stage performers. Redknapp, for instance, is often too quiet. You can hear her, but only just, and when the tough scenes occur later in the second act, she doesn’t have the stage presence or gravitas to give them the power they need.

Amy is much better, providing a slinky initial performance to catch her man in her trap, and then develops her role nicely at slowly creating the spiralling web in her character’s head. In that trap is a solid, if not overwhelming, performance from Farnworth as Dan. The performance is one that feels as if nothing is wrong, but it just feels slightly undercooked (unlike that poor bunny).

It is for me a tale of two levels. Most of the first act is excellently performed as the story is initially told, but when the story truly unravels and fights and arguments ensue, the three do not seem to have the presence needed to make it work.

They poorly handle the fights as well, with totally unconvincing slaps, punches and strangulation attempts. It takes the punch, so to speak, totally out of the drama when these key moments just seem comical rather than dramatic.

The supporting cast, almost no surprise to me, is better than the leads. John Macaulay’s Jimmy is a fun and dependable character to Dan, looking out for him through his troubles, and although always after the girl, is probably grateful he didn’t get the girl on that night at the club with his mate. Anita Booth is also solid, if a little under-used as Beth’s mother, just sort of present when the story requires an extra bit of weight. Also under-used is one of the more minor supporting actors, Troy Glasgow, who mostly is anything from dresser for Farnworth, office assistant, or hospital worker milling around in the background. When he gets a proper scene as a police officer, he commands the scene with authority and presence. So much that I would have loved to see him in the role of Dan, on which he is understudy.

So, to the story itself. Dearden has reworked it to bring it up to date with mobile phones and references to WhatsApp and video calling. We even get a covid fist bump, but I have to say, I have already had another of plays feeling they need to reference this. What they also attempted to change is the treatment of Alex, very much the crazed woman in the film. Here, however, it is more subtler. There is an edge of a mixture of understanding in what she does, much less the evil, manipulative woman, but more troubled. The story is still so misogynistic though and more of the eighties that we really don’t want to be seen now. The man still has no shame and cares not for the effect of actually what part he has in making Alex so desperate and sad, and lines referring to the hope that she loses the baby feels less comfortable in this day and age in a story like this. In resolution, a valiant effort to make it feel of this time, but still often, of that time.

The set from Morgan Large has a sharp style to represent New York nicely, but has far too much framework, which often detracts from the often used video projection. Scene changes are relatively simplistic, with a sofa, a bed, and sideboards being pushed in from various directions. There is some excellent music by Paul Englishby, which adds drama to the scenes as well. I felt, though, that the lighting design from Jack Knowles was a little disappointing, leaving many scenes underlit, and a huge number of shadow cast faces in many scenes.

Director Loveday Ingram keeps the action moving. However, while there are some long scenes, it never bores in the story it is telling. It also ends with, to me, a rather superfluous coda, which detracts from what we would call the first ending (and indeed a, has it finished, round of applause). It gives us a Sliding Doors moment, but I am not sure we needed it painting that vividly about how things can be so different.

Fatal Attraction is an OK piece of theatre. The plays well performed, if a little by numbers and unspectacular. It is an entertaining enough piece of theatre, and when it needs your support as much as ever, yes, I think that while this is relatively average; it comes as recommended as an entertaining evening out all the same.

Not a fatal production at all, and some parts have a definite attraction.
⭐⭐⭐

Performance reviewed: Tuesday 29th March 2022 at the Royal & Derngate (Derngate), Northampton.

Fatal Attraction runs at Royal & Derngate until Saturday 2nd April 2022.

For further details about the Royal & Derngate see their website at http://www.royalandderngate.co.uk

Fatal Attraction is SMITH & BRANT THEATRICALS, AMBASSADOR THEATRE GROUP PRODUCTION AND GAVIN KALIN PRODUCTION by arrangement with ROBERT FOX LTD AND PATRICK RYECART

Production photos: Tristram Kenyon