Patricia Highsmith's 1950 novel, adapted by Alfred Hitchcock for his 1951 film, starring Farley Granger and Robert Walker, has now been adapted for the stage by playwright Craig Warner. With its psychological intimacy and dark subtext, the theatrical adaptation works surprisingly well, especially in this nuanced production, directed by Scott Dittman.
A seemingly chance meeting on a train between Charles Bruno (Adam Chambers)—the alcoholic scion of a doting mother and cruel, wealthy father—and Guy Haines (Christopher McFarland), a promising young architect, sets the story in motion. Charles, whose neurotic ennui has begun to cross the line into homicidal mania, engages Guy in conversation in what seems like a familiar seduction.
However, when Guy discloses that he is married, unhappily so, Charles proposes a diabolical scheme to murder Guy's wife in exchange for the murder of Charles' hated father. Guy takes the proposal as a joke, but Charles sets the plan into motion, murders Guy's wife, and then incessantly hounds Guy to fulfill his end of the bargain. When Guy finally capitulates and commits the second murder, the two men's lives become even more inextricably intertwined.
Thrillers on the stage, especially those adapted from earlier classics, face a number of pitfalls, including invidious comparisons with the originals, as well as a sense of anachronistic pseudo-suspense. However, because this piece is essentially a complex, psychological drama with a fascinating, psychotic main character, it is a nice fit for the stage. Still, without strong acting, the play could screech to a halt.
The key to this production is the wonderful performance of Chambers, who brings a light but provocative touch to Charles. Chambers is thoroughly contemporary in his manner and delivery but timeless in his portrayal of a personality that is devastatingly familiar to all of us. Although young, he is already an actor of great accomplishment and further promise. The rest of the company is also solid, with McFarland providing an effective foil to Charles' machinations. Shari Shattuck is particularly effective as Charles' doting mother, who is the co-dependent in her son's psychopathology. Stephen Howard is crisp and utterly believable as the tough private detective. Brooke McCormick, Tim Heinrich, and Aaron Stetzik round out the fine cast.
Presented by and at the Knightsbridge Theatre, 1944 Riverside Dr., L.A. Sat. 5 p.m., Sun. 6 p.m. Jan. 6-Feb. 11. (323) 667-0955. www.knightsbridgetheatre.com.