Convict Review – Russell Tovey directs in a police thriller that fills you with dread | Theater

The Donmar has had a different effect changing the left films like Force Majeure and Fear of the 13th. But this production, based on the 2018 Danish movie The culprit (written by Gustav Möller and Emil Nygaard Albertsen), it’s a great theater experience, a crime thriller and a magical story.

At 70 minutes, it’s shorter than the film, but more devastating, with a razor-sharp twist that will leave you reeling. As a critic who takes a lot of notes, I emerged at the end of the show with an empty notebook as I was too busy to look elsewhere.

What you can call a room management system, unmatched Russell Tovey he plays a night shift cop, Joe. The plot introduces two central twists, one revolving around him and the other connected to the emergency call he receives from Emily. She has been kidnapped, she says, and her children are alone at home. Joe digs deeper than he should. It is clear that he is taking the blame for himself and breaking the law. Is he obsessed? Is he a good cop or a bad cop? We are always thinking. When the twist in Emily’s story comes, it is unexpected and terrifying.

In Chloë Moss’s adaptation, Joe is more grounded and unsettled than he originally was. Another office is empty and Joe talks to various drunks or time wasters who call in a dead monotone. But we learn more about him, and some stories about his family life that parallel Emily’s story. Moss is able to add to the desperation and helplessness of those suffering from mental illness and the sense of helplessness they feel from many practices. It’s a subtle social commentary and it feels human and sad.

We also feel that Joe feels guilty. He is guilty, and has to go to court the next morning. There is a lot of confusion surrounding his case which is not explained and adds to the controversy.

And what problems. You feel it on your skin. It is raised from the bottom and stored at the top. Most of these are under Tovey’s rule as they suck us up. But Punchdrunk founder Felix Barrett’s advice is expert too. This is a show that relies on technology – Alex Eales’ set includes props and control room equipment. There is a high risk of different phones not being connected but they all work fine. Anna Watson’s lighting design uses the visual form in a high concept, then descends to dignity and privacy. There is a final reveal, further on in the film, that makes the theater work better.

Joe’s revelation is the only thing that matters here and requires further explanation. It also sounds psychological, as if it is coming out of the mouth of the writer and not a character – a comment on police brutality but without stories and events that cannot happen when they are sent to London. That criticism is on a legitimate level, perhaps reasonable. In person, this is the funniest and most visually appealing drama. Don’t waste a minute, not a beat is missed. At least on the white knuckle tour.