Unimaginative adaptation of Tarantino’s heist movie
This article is from 2011.
Quentin Tarantino has his fair share of detractors – those who claim his films make up for their lack of originality with profanity and violence. These people should swipe an extra star or two from this review, since Tarantino’s plot and dialogue are almost all it’s got going for it.
It’s a shame, because Reservoir Dogs is a story that lends itself generously to the stage. Much of the action takes place on a single set, with no great special effects necessary barring the occasional discharge of firearms. It does include a few flashbacks back and forth that an enterprising theatre company might find a way to adapt creatively or excise altogether; unfortunately Tripwire is not that company – the film in it's entirety is up there on stage, with scenes linked by clumsy transitions (scenery stills are projected in place of the real thing) and the occasional no-budget video clip.
The acting is variable: David Ayres, Paul Rookes and Joe Mellor distinguish themselves as Mr Pink, Nice Guy Eddie and kidnapped cop Marvin Nash respectively, but American accents prove too slippery for most of the cast to maintain for the duration, and Tarantino’s rat-a-tat dialogue is often fudged or fumbled.
The production’s aim to raise money for charity is admirable, but exists as the sole reason to go see the play – for entertainment value, you’d be better off watching the film.