The inclusion of The Talented Mr Ripley in the Sydney Theatre Company’s 2025 season sparked my curiosity — a stage adaptation of Patricia Highsmith’s rarely adapted 1955 novel. Why this novel, and why now? Familiar with the novel and a lover of Anthony Minghella’s 1999 film, I was eager to see how Sydney’s premiere theatre company ventured at taking audiences through the beauty of Italy, the mess of conspiracy, and never-ending tension. 

Nervousness sparked in me when I spotted the minimalist set design — one prop wall spanning the stage with a door in the centre. Intrigue emerged as period-costumed characters began to move across the stage. Using lights, sound effects, music and minimal props to vaguely form an image, we could imagine the world of New York with these clues. It felt similar to reading the novel itself — using the provided details to imagine a broader, deeper image. From the start, the play places us in Tom Ripley’s paranoid point of view through this stage design, for example, casting a large shadow of Hubert Greenleaf against the prop wall as he follows Tom, a very noir stylistic choice.

Set designer Elizabeth Gadsby and lighting designer Damien Cooper continue to prove my early concerns wrong. Magically, the stripped-back, industrial aesthetic fades away in Italy. The lights shift into pinks, yellows and oranges as the foreground scrim comes to life with a moving image of water. The isolated stage is suddenly populated with sunbathing, smoking and chatting beachgoers and their large umbrellas. These evolutions highlight the novel’s ideas, contrasting the cold, emptiness of New York with the idyllic, warm allure of Italy. The fictional town of Mongibello is treated as an escape from the monotony and blandness of America, following the characters’ romanticised view of Europe. 

Costume designer Emma White further highlights the divide between not only the continents, but the characters. Tom sticks out like a sore thumb for the first half of the play in his charcoal suit and black dress shoes. He slips into Dickie Greenleaf and Marge Sherwood’s life, played by Raj Labade and Claude Scott-Mitchell respectively, which is submerged in pink and yellow, demonstrating how immersed they are in their lives abroad. When Tom starts to impersonate Dickie, the line of identity becomes muddled, and the blending of their costumes creates a jarring outfit to match Tom’s jarring behaviour. 

Will McDonald’s performance as the titular character is wonderful, confidently addressing the audience in his bold, snarky monologues and asides and truly commanding the stage as the fiendish fraud. His charisma is both charming and intimidating; as an actor, he is unafraid to make eye contact with audience members, even as we watch Tom fumble awkwardly and dig the deepest hole of crime. He is supported graciously by his fellow cast-members, especially as the tension between Tom and Marge brews with increasing intensity. As the latter, Scott-Mitchell delivers a fantastic performance where her initial suspicions of Tom develop into confident accusations — unafraid to challenge this stranger in her life despite Dickie’s blasé attitude. She’s just as intimidating as Tom at times, making audiences feel the panic and sense of smallness alongside him as she questions every little detail. 

The design team demonstrate the power of having a malleable stage as it transforms from beach, to an open ocean, and into both lavish and cheap hotels. The seamless transitions of lights and set dressings are quick and aided by cast members. Additionally, the show does not shy away from the comedic potential of this creative representation of different locations and conditions, with cast-stagehands holding portable fans in front of characters to give an illusion of wind, and characters bouncing themselves when they’re meant to be on a bus.

Two of the show’s key themes — relationships and identity — are subtle in nature. The production gives clues and allows audiences to sift through the characters and events to uncover these themes and the purpose of this story staged today. Ultimately, what I found standing out was the exploration of privilege, class and financial status. Tom’s desire for Dickie is often associated with sexuality, which the show does not neglect. However, Tom’s status as a grifter who is granted money and access to a lavish life in Europe plays a major role in his desire to become Dickie. Tom’s crimes against Dickie are intrinsically tied to the desperation to be rich, because of how freeing it makes Tom feel. This feels relevant to the current financial situation many Australians are experiencing whilst the wealthy have excess. So, although unjustifiable, can one really be surprised by Tom’s actions? Director Sarah Goodes’ intentions are clear in this production, and quietly speak to audiences as they find themselves questioning whether Dickie and Marge’s life in Mongibello is as satisfactory as it seems to be. 

Tom’s queerness is handled explicitly, with Tom being described as queer by others on several occasions. Labade’s performance as Dickie alongside McDonald generates eccentric dynamics that encapsulates the characters’ relationship. We feel the highs of their friendship as they travel and dance together, but also the tense lows as Dickie confronts Tom about his odd behaviour towards him. Labade demonstrates Dickie’s dynamics, easily shifting from laid-back dopamine-seeker to a cold, deflecting figure. One of the most interesting aspects of this production is the repeated motif of Tom being surrounded by the male cast members after he has done something terrible — staring at him as he looks back at them fearfully. Are they meant to be men from Tom’s queer history, or are they perhaps just a physical embodiment of his shame and fear as a closeted queer man in a hostile era?

Overall, Sydney Theatre Company’s The Talented Mr Ripley is a successful adaptation of the novel for stage. Its strength shines through its design and the performances facilitated by Goodes, all of which come together to address the sense of desire felt by many in this country today. A desire to feel financial freedom — enough to travel without caring, and a desire to be ourselves without fear of judgement and ostracisation. It asks the question of how far would we go as humans to satisfy our desires, and does not judge us if our answer is this far.