A chilling tale of obsession and deception on the stage.
This latest theatrical reimagining of a Peter James story plunges into the world of fine art, counterfeit dealings, and the obsessive lengths people will go to in order to complete their prized collections. Crafted for the stage by Shaun McKenna, the narrative pulls the audience into a web of intrigue that twists and turns with increasing frequency as it approaches its climax.
There’s no shortage of surprises, and the production certainly manages to keep you invested as the mystery unfolds. That said, the pacing feels somewhat uneven — tension takes a while to build, and a number of dialogues come across as unnatural or overly expository, which slightly detracts from the realism of the relationships between characters. Some moments feel like they are spelling things out for the audience rather than allowing the plot to develop organically through action and interaction.
A handful of characters verge on caricature. Stuart Piper, the flamboyant and unscrupulous collector, teeters on the edge of parody, while Freya and Harry Kipling, the earnest couple weighed down by debt but guided by principle, sometimes feel a little too idealised. Dave Hegarty, a reformed forger now making a living through legitimate replicas, is one of the more layered figures, emblematic of the blurred boundaries between morality and survival that underpin the story.
Visually and sonically, the production excels. Jason Taylor’s cool-toned lighting casts a fittingly eerie atmosphere throughout, and Max Pappenheim’s sound design lends a cinematic quality to key moments, especially in the second half, when the pace finally begins to pick up and stakes become clearer. These design choices subtly reinforce the story’s underlying sense of unease.
Adrian Linford’s inventive set design deserves praise for its fluid transitions between spaces — an artist’s studio, a modest home, and a lavish country house — all captured with economy and style. However, the scenes set in the police station feel somewhat isolated in tone and staging, missing the seamlessness that ties the rest of the environments together.
Among the cast, Jodie Steele is a clear standout as Roberta, an ambitious art consultant who refuses to let ethics stand in the way of profit. Her performance brims with confidence and cunning, injecting much-needed energy whenever she appears on stage.
While it may not deliver edge-of-your-seat suspense in the way some might hope, the play offers enough intrigue, atmosphere, and strong design to make it a worthwhile evening, particularly for those drawn to tales of ambition, deception, and the murky ethics of art.