The Talented Mr Ripley, at Playhouse, Arts Centre Melbourne - 2 hour 15 minutes, with no interval

Carpe diem is a Latin phrase meaning "seize the day”.

That is exactly what small time conman Tom Ripley (Will McDonald), who works in an advertising agency, does when presented with an unlikely opportunity.

It is the late 1950s.

Photos by Cameron Grant and Prudence Upton

The New York native is approached by Herbert Greenleaf (Andrew McFarlane) with a proposition.

Shipping magnate Greenleaf is Dickie Greenleaf’s (Roman Delo) father and believes Ripley went to school with his son.

In his twenties, Dickie has been living it up in Europe, but Herbert wants him home because his wife (Dickie’s mother) is ill.

Approaches to Dickie from afar haven’t worked, so Herbert is willing to pay someone to travel there first class and coax him home.

Others have turned him down, but not Ripley.

Dickie is living in Italy with writer Marge Sherwood (Claude Scott-Mitchell) as a companion, which is where Ripley finds them, cooling their heels on a beach.

A confident, erudite Ripley is dressed inappropriately, but that doesn’t faze him and he strikes up a conversation.

In no time, he has inveigled himself into Dickie’s life and is enjoying his company and the fully funded lifestyle. 

He even travels with Dickie, leaving Marge sidelined.

Attracted to Dickie, Ripley imagines being him.

More than once, Ripley oversteps the mark in their growing relationship and Dickie puts him back in his place.

By then, the lure of being Dickie has become overwhelming.

A psychological thriller by Patricia Highsmith, she completed The Talented Mr Ripley in 1954. The book was first published the following year.

It has been adapted for the stage by Joanna Murray-Smith.

As the play begins, a backlit bare stage greets patrons, with a silhouetted Ripley standing in a doorway.

He proceeds to relay his back story – an orphan brought up by an aunt he detests –

as he moves from one watering hole to another, shadowed by Herbert Greenleaf.

The talented, six strong cast performs admirably throughout.

They are adroitly led by Will McDonald, who is responsible for the lion’s share of the heavy lifting.

He is on stage throughout the 2¼ hours without interval and doesn’t miss a beat,

and not just in terms of the delivery of the dense verbiage assigned to Ripley.

It is in the way McDonald carries himself, his expressions and actions.

As Ripley, you can see the wheels turning, as he is continually plotting.

Matching McDonald stride-for-stride is Roman Delo as the entitled and spirited Dickie.

He is not afraid to call out others when they get too close or become too needy.

Delo readily inhabits the part of “a superior being”, living life on his terms.

As Marge, Claude Scott-Mitchell’s affection for Dickie is clear. So, too, her suspicions of the manipulative, fish-out-of-water Ripley – her growing unease evident.

While more of a background character, she remains an ever-present force.

Andrew McFarlane has an old-school respectability about him in his representation of Herbert Greenleaf. Although progress on his son’s return is slow, he lives in hope.

There is a persistence and belligerence in Faisal Hamza’s larger than life portrayal of Dickie’s long-term friend Freddie Miles. He – like Marge – questions Ripley’s authenticity.

And then we have the sleuthing of Inspector Rolverini, as dutifully played by Johnny Nasser, resplendent in a doubled breasted suit and hat.

One of the other great attributes of Sydney Theatre Company’s The Talented Mr Ripley is its staging.

As representations of place, furniture and props are critical. Elizabeth Gadsby is the set designer.

From suitcases and a clothes rack in a wardrobe, from a drinks trolley to a small boat, from a sofa to a painting on a wall, all are moved in and out seamlessly. 

Amongst the rising tension, the use of a small, cheap fan brings howls of laughter (as is the intent).

Emma White’s costuming captures the diversity of character styles, from elegant to casual and relaxed.

Steve Francis’ sound design and composition, and Damien Cooper’s lighting design magnify the mood swings inherent in the work.

The Talented Mr Ripley is well paced. Director Sarah Goodes keeps the action moving, enabling it to flow from scene to scene, such that the time passes quickly.

This is a sharp and deliciously enjoyable take on a bold and provocative story, where subterfuge holds court.

It is on at Playhouse, Arts Centre Melbourne, until 23^rd November, 2025.