The sheriff is waiting. The villain is coming. The clock is ticking. So where’s the tension in this new, stage take on classic western High Noon?

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High Noon (Harold Pinter Theatre, London)

Verdict: Nicely acted, but not tense enough

The people creating the stage version of the classic 1952 western, High Noon, likely intended it as a warning about current problems in America.

As a lifestyle and culture observer, I was struck by how much the story of Frank Miller – this vengeful outlaw at the center of a new premiere – felt eerily relevant. Watching Billy Crudup, who you probably know from ‘The Morning Show’ and ‘Almost Famous,’ play Sheriff Will Kane, the man who originally jailed Miller six years prior, it was hard not to think the cast was channeling some very current events. It’s a powerful story of revenge, and the parallels felt incredibly intentional.

Frank’s long leather coat definitely outshines Don’s signature red ties.

Despite Kane’s efforts to inspire the frightened townspeople to fight back, it feels like watching a gym teacher trying to motivate unenthusiastic students for a long-distance race.

David Crudup’s portrayal of Sheriff Kane is much more approachable than Gary Cooper’s in the original film, thanks to a script by Frank Miller (who also wrote the screenplay for Forrest Gump). However, I’m not convinced he’d be the one I’d rely on if a shootout started.

The acting is generally strong. Denise Gough delivers a bold performance as Amy Fowler, Kane’s wife, portraying her internal conflict as a pacifist. Billy Howle also stands out as the slick and somewhat untrustworthy Harvey, Kane’s young assistant.

Let me tell you, Rosa Salazar absolutely shines as Helen Ramirez, the saloon owner in this story. She’s a fascinating character – a no-nonsense businesswoman who’s seen it all, and doesn’t shy away from a tough life. But what really struck me is that beneath that hard exterior, she’s actually a surprisingly thoughtful and moral person. It’s a really compelling performance, and she brings so much depth to the role.

Thea Sharrock’s version of the story doesn’t capture the feeling of isolation and fragility in this small Midwestern town. The set design by Tim Hatley, instead of emphasizing the vastness of the landscape, feels cramped and enclosed, like a barn.

The station clock, meant to build suspense, doesn’t quite work – time seems to drag when you’re focused on it. Instead, the music, like Bruce Springsteen’s ‘I’m On Fire,’ evokes a longing for simpler times when people valued honesty and respected the law.

We’re not looking for wistful memories; we want that feeling of breathless anticipation when the clock strikes twelve.

At the Harold Pinter until March 6.

 

Gerry & Sewell (Aldwych Theatre, London)

Verdict: Canny lads

This raw and honest play, currently running at the Aldwych Theatre until next week, portrays life on welfare in Gateshead, a traditionally Labour-supporting area. It feels surprisingly out of place, like a simple, working-class meal served in a very fancy hotel.

Jonathan Tulloch’s book, The Season Ticket, offers a fascinating, yet complex, look at British football culture. How can we best describe its exploration of the social dynamics and often unpredictable behavior surrounding the sport?

The story follows two troubled teenagers who believe getting season tickets to see Newcastle United play at St James’ Park will turn their lives around.

They started their fundraising efforts by attempting to sell a salvaged, used toilet – surprisingly, to a woman with a hairpiece who worked in the sex industry and lived in a dilapidated caravan.

It would be simple to dismiss Jamie Eastlake’s work as a misguided, disrespectful, and openly biased attempt.

Despite resembling the Tyneside comic Viz and being set on a stage that looks like an abandoned dump, the show takes its raw, cheeky energy and turns it into something completely fresh and original.

At 38, Dean Logan injects a lot of energy, ambition, and a surprisingly innovative spirit into his portrayal of Gerry.

I have to say, Jack Robertson is absolutely brilliant as Sewell, Gerry’s friend. He plays this big, easygoing guy who just doesn’t seem to care what anyone thinks, and it’s hilarious! He’s got a real knack for comedy, and it’s one of the best things about the show, honestly.

The writing is a bit rough around the edges, and it’s not exactly something I’d recommend, but I’m still glad I experienced it.

Gerry & Sewell runs at the Aldwych until January 24.

 

ALSO PLAYING…

Orphans (Jermyn Street Theatre, London)

Verdict: Learning the hard way

Treat (Chris Walley), dressed in typical eighties attire – blue jeans and a denim shirt – seems like an ordinary guy. But to support himself and his younger brother, he steals jewelry and watches from people, always keeping a knife handy.

Phillip, who acts innocent but is actually quite clever, spends his days inside their run-down Philadelphia apartment wearing pajamas and a Tom & Jerry shirt. This is because Treat, who controls him, insists Phillip will get sick or worse if he goes outside. Phillip also says he can’t tie his shoes, though it’s not clear if that’s true.

I was completely captivated by Al Miller’s revival of Lyle Kessler’s play. It’s a truly unsettling and bizarre piece, originally written in 1983, and what struck me most was how much the characters’ clothing revealed about who they were – or pretended to be. It really pulls you into a world where things are never quite what they seem, and violence feels like it’s always lurking just beneath the surface.

One evening, Treat encounters a very drunk older man named Harold. Harold’s expensive suit, shoes, and briefcase full of valuable bonds lead Treat to think he’s a wealthy businessman who would be perfect to kidnap.

Things aren’t always what they seem. The way this stranger disrupts and then re-establishes the power dynamic between the two brothers who grew up orphaned is strongly reminiscent of Harold Pinter’s play, The Caretaker.

Harold, a clever and eccentric man played by Forbes Masson, understands Phillip because they share similar backgrounds – both were raised without parents. Harold, having grown up in a Chicago orphanage with a caretaker who had only one eye, knows how to take advantage of Phillip’s longing for connection, his fondness for yellow shoes, and his wish to break free from his current life.

He notes that Treat aspires to be a more sophisticated criminal, and even dresses the part with a stylish Pierre Cardin suit and blue alligator shoes.

Suddenly, the room feels like home – a cozy picture hangs on the peeling wall, a rubber plant sits on a small table, and a drinks trolley is nearby. Harold, looking a bit like a father figure and wearing an apron, is serving up both simple comfort food like corned beef and cabbage, and more elaborate dishes like bouillabaisse.

But Harold, it seems, is a man on the run.

Miller’s direction creates a consistently tense atmosphere, and the actors deliver strong performances, but the play ultimately doesn’t reach its full potential.

Orphans runs at the Jermyn Street Theatre until January 24.

GEORGINA BROWN

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2026-01-19 12:25