Switzerland

Do the characters they create continue to haunt the writers who conjure them from their imaginations? This is one of the many questions I found myself asking as I left the Playhouse after Switzerland.Joanna Murray-Smith’s latest play explores this question, as well as introducing us to Patricia Highsmith, author of the Ripleytrio of thrillers.

We meet Patricia Highsmith at the end of her life, a character played superbly by Sandy Gore. Highsmith is a recluse living in Switzerland; she is an acerbic character, who uses words as weapons. Murray-Smith describes her as “one of the most unlikeable, psychologically astute, complicated, miserable and brilliant writers of the 20^th century…” and yet, like Tom Ripley, the audience empathises with her and finds they are secretly wishing that they had the courage to deal with the inconveniences and annoyances of life in similar ways. Haven’t you sometimes wished that you could tell someone who is intruding in your life to get lost? Difficult and uncomfortable as it would be, Patricia Highsmith would make a very interesting dinner guest.

The arrival of an emissary from her New York publishing house, Edward Ridgeway, is the catalyst for the following drama. This young, over-confident and slightly desperate man, played by Matt Crook, seems like an easy target for Highsmith. Yet he stays, he copes with the cats, the snails (yes snails), the threat of violence, and the constant assaults on his character, life and hopes. As he stoically resists the temptation to leave, he slowly transforms himself. Crook’s transformation from the slightly “wet behind the ears” Edward into the Tom Ripley of Highsmith’s best novels is believable and praiseworthy.

The drama unfolds on a set designed by Ailsa Paterson that does not intrude on the action, but rather enhances the character of Highsmith. There are clues scattered on the set that reveal aspects of Highsmith’s interests; the collection of weapons carefully displayed on the chimney and wall, the cat bowl by the writing desk, and the comfortable but unfussy living room, the books, typewriter, the fireplace that really burns things and perfumes the air. Nigel Levings’ lighting design and Jason Sweeney’s soundscape add to the atmosphere and play on the psychological thriller elements of the play.

Patricia Highsmith began as a writer of comic stories and Murray-Smith has written some fabulous one-liners, which caught the audience off guard and produced genuine laughter from an audience, guaranteeing their full engagement with the characters and the story. As the play progresses there are increasingly more hints of a deeper, darker side to Highsmith. She plays with Ridgeway like her cats would play with a mouse, teasing and torturing him; will she or won’t she sign the contract he has brought with him?

The other facet of this production and script is that it is a play about writing; how writers create stories and characters. What is the process? It is a play that delights in using words well. Both characters experiment with ideas and as Ridgeway says to Highsmith, every great novel starts with a world; a world that the author creates and peoples and then the readers are invited into this parallel universe.

This is a two-hander worth going to see. A great play, with a fascinating storyline and performers who more than live up to the demands of the characters and the script.

Sally Putnam

PREVIEW ANND BUY SCRIPT HERE.

Photographer: Andy Rasheed.