Theatre Royal Concert Hall Nottingham – until 4th April 2024
Reviewed by Amarjeet Singh
2**
This play is based on a short story of the same name by the nineteenth century master of the macabre, Edgar Allan Poe, but that’s pretty much where the similarities end. I was left quite baffled by this rendition. It started of well, a dimly lit stage, draped in swarths of cloth, shadows and rumbles of thunder, it made for quite the fright, but it soon descended into confusion.
Rumpus Theatres version of The Tell-Tale Heart is set in the house of Roderick Bounty, in the mid-19th century. Clarry Straven, a clerk to a respectable firm of solicitors, is sent to draw up an inventory of Prospect Manor whilst the owner is away. This aspect of the story appears to borrow quite heavily from ‘The Woman in Black’, but without the fleshed-out backstory of the character. Straven decides to stay at Bounty’s house, as the latter takes in lodgers. Straven is unsettled by Bounty’s ‘Vulture Eye’ which has been an affliction to him for some time. For some unknown reason Bounty decides to tell Straven about a fortune of gold and silver he was given by his other lodgers, tokens they have left behind, and how it would be disrespectful to their generosity to turn the goods into cash. Bounty also fears being robbed. For all these reasons he decides to keep the curtains closed. Straven decides that Bounty’s eye has a supernatural quality to it, even though Bounty has been nothing but kind to Straven, plying him with wine and stew. The eye haunts Straven and gives him nightmares, eventually leading him to commit a terrible deed.
This play makes no sense. There is no reason for the characters to act the way they do. At 2 hours long there is plenty of time for these motivations and drives to be explored, but they were not, instead it was packed with disjointed scenes, strange ramblings, static staging, and odd directional choices, I left the theatre confused. There were some positives. The acting on the most part was impressive. David Martin’s portrayal of Straven was solid and his stew eating was near perfect. However, the transformation from the obedient solicitor’s clerk into a man suffering severe mental anguish was questionable. This could be down to the writing and direction. Nothing added up, it all seemed so incredulous. John Goodrum as Roderick Bounty started strong and then took us on a journey of meanderings, the script could do with some serious tightening up. The pivotal scene was such a letdown, akin to school play efforts, or toddlers having at a piñata. A disappointing close to act one. The end of the play had a huge twist that left me cold for all the wrong reasons. David Gilbrook’s sounds added atmospheric music and sound effects which lifted the production but was not consistent enough to build tension.
I’m sure there are some who would really enjoy this retelling of a Poe classic, and I have no doubt with some tweaks it would suit some audiences.