The Da Vinci Code, the internationally best-selling early noughties novel by Dan Brown, adapted into a similarly hit movie in 2006, is a well-debated favourite at Starburst Towers, consisting as it does of a large number of conspiracy theories and clues wound through an epic narrative that leads to a ‘twist’ conclusion.
So ubiquitous was the original novel after it was published in 2003, that you could play ‘spot the cover’ on public transport up and down the country. It’s epic urban fantasy, with just enough of the clues and plot points touching up to reality, leading to you being drawn into the narrative. But it’s also very, very dense, covering a lot of ground, and numerous locations. It is a brave creative team therefore who have attempted to cram this sprawl into the constraints of a live theatre show, currently on tour throughout the United Kingdom.
Adapters Rachel Wagstaff and Duncan Abel have made a good effort at squeezing in all the required narrative beats, and have thrown in the occasional updated cultural reference, including a knowing nod to Covid restrictions. They’ve chosen to just launch the audience straight into the action, which both starts and continues at an express pace. As a piece of theatre, there’s many abstract moments, and the spirit of Bob Fosse feels in evidence at times, along with a distinct influence of Frantic Assembly, the UK theatre darlings of physical movement in otherwise naturalistic plays.
By the time the safety curtain falls for the interval, you might be forgiven for wondering just exactly how all the myriad plot points are going to be resolved within the relatively short second act. Somehow, and we’re still not entirely sure how, all of those strands are pulled together in a rollercoaster final fifteen minutes, which includes that twist, and, mercifully, avoids the all too frequent compulsion to insert an un-needed romantic subplot.
Acting wise, the big draw for SFF fans is Red Dwarf stalwart Danny John-Jules, who appears to be having the time of his life as billionaire Sir Leigh Teabing, and we also want to give a nod to Ghostbusters: The Gates of Gozer’s
Alasdair Buchan playing Remy The Butler, and some other small roles. Newcomer Hannah Rose Caton delivers a mature and believable performance as the cryptographer Sophie Neveu, who drives much of the plot by solving most of the numerous puzzles. Eastenders and Shrek – The Musical star Nigel Harman provides a solid leading man presence as Professor Robert Langdon, drawn into all of this against his wishes.
If you somehow managed to escape reading the book on your early twenty-first century commute, and you haven’t seen the film, then you will still be able to follow the plot, as fast-paced as it is, thanks to some of the clues and plot points being repeated, presumably so that we can have a small moment of smugness as we solve the clues before the characters do. If you have read the book, or seen the film, there will be little to surprise you here – but if you’re an aficionado of slightly abstract theatre with stylised movement sequences thrown in, then this may well be worth a trip just to admire the stagecraft. The set and the lighting design / projections are also superb, and are used to great effect to build the world of the story.
It is however, not one for the younger members of your family, and Nigel Harman is not appearing at all venues – check the production’s website for further information.
This is billed as a ‘thriller’, but we’re tempted to say that it feels more like The Crystal Maze meets Anneka Rice’s Treasure Hunt, via the puzzle-narratives of the novels of the “golden age of crime”. On speed.
The Da Vinci Code is on tour across the UK. Find out more via davincicodeonstage.com/
