Rebecca

This sumptuous adaptation preserves all the fundamental elements of De Maurier’s novel whilst also acknowledging its contemporary relevance. This is achieved by de-contextualising the setting visually. Locations are still referred to in the text, but the set design (Marg Horwell) is more suggestive of the locations rather than attempting to recreate them. This is particularly effective as the set design incorporates some stunning elements that make a great aesthetic impact. The costume design (Marg Horwell) is also mostly quite timeless. 

When the marriage begins to turn sour as the truth about Rebecca is revealed, Maxim’s (Stephen Phillips) behaviour is clearly cast as intimate partner violence. He is physically violent and also his behaviour exhibits shades of coercive control. This adaptation is not afraid to draw out these kinds of complexities and to examine the darker side of the characters.

The unnamed Woman is played beautifully by Nikki Shiels who carries a very convincing air of naivety. The production emphasises her gradual transformation into Rebecca and Shiels makes this change in gradual and subtle ways that accentuate the haunting presence of Rebecca. Pamela Rabe as Danvers is phenomenal. She plays three roles (Mrs Van Hopper/Mrs Danvers/Beatrice), and each persona is, to some extent, an antagonist for the Woman. Her transition from one character to the other is often astonishing and a delight to witness. The dramatic change in her vocal tone, accent and demeanour are very striking.

The tension between Danvers and the Woman reverberates in every single line. Danvers has a very ghostly appearance, often emerging out of or disappearing into the shadows. This helps to fuel the tension and gives her a very ominous aura. Her devotion to Rebecca is also made explicit and her lesbian desire is made unequivocal in that adoration.

As the play progresses it is mainly set in Rebecca’s bedroom. Here the set becomes more detailed and incredibly lavish. The staging also allows for some extremely clever and effective set changes that indulge the dream-like quality of the unfolding mystery. The richness of the set is impressive and it often looks quite exquisite. This also emphasises the importance of the myth of class and beauty surrounding Rebecca and Manderley.

This production provides a very indulgent experience that takes you into the very depths of Du Maurier’s novel and her very forward-thinking ideas. It highlights the gender and class divisions she so expertly explored and critiqued. The production makes it very clear that, in many respects, the often vengeful and spiteful nature of these divisions has not changed much since Du Maurier first put these ideas down onto paper.

Patricia Di Risio 

Photographer: Pia Johnson