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Review: The Da Vinci Code (Salisbury Playhouse)

Review by Seth Wilby

 

⭐️⭐️⭐️

 

Murders, mystery, and a Mickey Mouse watch. That’s what’s lined up this Spring in the Salisbury Playhouse’s new production of The Da Vinci Code, attempting to recreate the thrilling twists of the bestselling book. But, would this production prove itself to be a work of art, or would it end up more misery than mystery?

 


Based on the 2003 novel by Dan Brown, and its subsequent 2006 film adaptation starring Tom Hanks, this stage adaptation (by Rachel Wagstaff and Duncan Abel) was first seen on a UK tour in 2022. Returning to British stages in a new production, The Da Vinci Code sees symbologist Robert Langdon team up with cryptologist Sophie Neveu as, pursued by the police, they work to uncover the web of clues left across Europe by Sophie’s murdered grandfather before it is too late.

 

The Da Vinci Code was a global bestseller upon its release, and Wagstaff and Abel do well to capture its spirit on stage, perfectly portraying the twists and intrigue it became known for, as well as adding some vivid symbolism. Interestingly, this new production clocks in at just under 2 hours and 45 minutes, suggesting that something has been added on from its initial UK tour (which ran at 2 hours, including interval). Although I never saw it back in 2022, I don’t doubt that this was a strong choice. At its current length, the production manages to elegantly deliver the full story in all its glory. However, when it isn’t at the peak of its intrigue, the production seems to drag slightly, with the second act pacier than the first, which feels plagued by exposition. Just to begin their treasure hunt, our two main characters must first unravel a series of codes left in the Louvre. These are all solved almost instantly, yet still take up the bulk of the first act, leaving you wishing for a more captivating mystery.

 


Director Chelsea Walker’s touch on this production is unquestionable, displaying a clear vision that, almost always, serves to enhance the script. Some particularly memorable moments have been crafted, including a tension-filled dramatic prologue, in a production that glides elegantly between scenes. Bringing back the deceased characters for semi-flashback sequences was an ingenious way of filling in narrative gaps. Walker’s choices in staging are undoubtedly sophisticated, but not always as smart as they could be. Take the use of projections, for example. Designed by Daniel Centon, these often paint the back walls of the production, usefully lending insight into clues the audience would otherwise be unable to visualize, or allowing for more considered imagery of the characters and their struggles. However, these projections, although very useful, are difficult to contextualise in the production as a whole. If this is meant to appear as a live feed of clues our characters are holding in their hands, at least make some attempt for the projections to line up with what we’re seeing on stage – at one point, a character is seemingly filming a video on his phone, yet the projections on the back wall only offer a generic view of his eyes, as opposed to the genuine livestream, and this distracts from the scene’s focus.

 

Set changes are carried out by hooded figures in a choice that, by the end of the show, proved brilliantly symbolic, although I’ll admit that they had confused me up until then. Designed by Alys Whitehead, the set successfully transports us across a multitude of locations, flying in large walls and just enough physical set to provide clarity to the constantly-changing setting. Whitehead achieves just enough to immerse but not distract from the action, as enhanced by Ryan Day’s lighting, which provides a shifting sense of scale for all the locations, as well as a particularly striking visual in the play’s final moments.



Taking on the lead role of Robert Langdon is Joe Bannister, whose portrayal feels lived in, with a natural rationality and charisma. Although Bannister’s performance managed to hint at some layers to Langdon, the character has unfortunately been written so that his mere presence often felt futile. We’re told that he is necessary to solve the mystery, but we just don’t see why that is. We’re told that he lives a relatively suppressed life, but we’re never told why he’s like that. Langdon is meant to be our protagonist, yet we don’t know enough about him to be able to root for him, and he feels like he’s playing third fiddle in too many scenes. 

 

Joining Langdon to solve the mystery is Sophie Nevue, played by Georgia-Mae Myers. Myers allows her character to develop throughout, and her Sophie feels somewhat weighed down yet appropriately unrestricted by her past trauma. Supporting roles include Richard Clews’ assuredly stable Jaques Sauniere, Joshua Griffin’s scene-stealing Remy, and clear stand-out Joe Pitts as Silas. Pitts manages to bring a haunting pain to the troubled monk, creating an antagonist who the audience genuinely feel some empathy towards. Scenes where Silas is alone, depicting his self-flagellation or questioning of some higher ‘teacher,’ are some of the play’s strongest, and most thought-provoking.

 


Overall, this play is a sturdy adaptation of the classic thriller, though the thrill is often where it lacks, failing to keep the intrigue alive consistently, wasting time that could instead allow for some much-needed exploration into its main character. Chelsea Walker’s production, however, does manage to add some extra layers to the narrative, although this can lead to a lack of congruency between script and show. This is a production with huge potential, but there’s a couple of things it needs to brush up on to become a true masterpiece.

 

The Da Vinci Code plays at Salisbury Playhouse until May 3rd

 

 

Photos by Manuel Harlan

 

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