The Shawshank Redemption

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Cathey (top), Anderson - 'The Wire's' Reg E stars as Red, alongside Kevin's Andy

A little known Stephen King novella formed the basis for one of the most successful films of the 1990s. How would it work on the stage? Owen O'Neill and Dave Johns' adaptation works well. It gives you all you would expect if you are familiar with the film, with just a nugget or two to accentuate their own fingerprints on this production, that is solid without being spectacular.

The prevailing winds of economic doom do not seem to have blown through the offices of Lane Productions. This is a lavish offering, you can clearly see where the cash has been spent, with a number of US-based actors in the ensemble, and of course whatever was handed over for the rights

This story of hope, frustration and a sense of misplacement is familiar to many. Set in a state penitentiary, the play begins with the arrival of Andy Dufresne (Anderson). Wrongfully convicted of murdering his wife and her lover, the new inmate has a quiet air of confidence, and his background in financial affairs soon has him 'cooking' the books for some prison guards and the Warden (Mullen).

Andy's charm is not lost on Red (Cathey) and their friendship results in a spiritual transformation for the prison 'fixer'. Red's commentary is often poignant, sometimes gritty, and occasionally funny as he must prepare himself for a life beyond the four walls and the routine of prison life. Before Andy's arrival, Brooksie (Dullea), the inmate librarian, spends his day pushing around a small trolley of books. That is until Andy uses his growing influence to persuade the powers that be to improve the library facilities.

Andy is certainly the metaphor for change. The prisoners start up their own band, in house movie nights become more regular and Rita Hayworth has even more male admirers. As things change, there are those who will offer resistance, whether its Bogs (Hanley) and his 'Sisters' or the Warden, who feels that his financial advisor is getting too big for his boots.

Director Sheridan seamlessly moves the action from prison cell to library via the prison yard to rooftop, stopping off at the warden's office en route. There is a rhythmic beat to the action, amid the realistic fight scenes and the musical scores. They add a certain adrenaline rush. Yet the quieter moments flesh out the extent of tortured souls, where we learn that the actions of the past, in that gambling, and playing poker to be precise, can ruin lives.

Then there are those who resolve to better themselves, like Tommy (Noyes). In the pursuit of an education, he enlists the help of Andy. In return, he rewards his teacher with his loyalty but subsequently places himself in great danger.

There is much to admire in many of the performances, with Mullen and McEvoy as the often crazed prison warden, and the aforementioned Noyes all delivering eye catching turns.

Cathey is hard to dislike as Red, and hits the right emotional chord, while Kevin Anderson, though not as likeable in spite of being the hero of the piece, equally delivers a measured performance.

The strength of the production values is enhanced with Ferdia Murphy's set design and the clever use of Kevin Treacy's lighting.

James McMahon