The adaptation of a story from one means of culture to another is a tricky business.
Comparison is inevitable and in the vast majority of times, the original form wins the battle in the heart and mind of the audience.
The stage adaptation of the classic Barry Levinson’s 1988 film “Rain Man” that runs at the Apollo Theatre is an ambitious effort to place the moving story of the Babbitt brothers in a three dimensional space.
The result is more than satisfactory. In certain cases, even more interesting than the original movie, as far as the setting is concerned.
This play is American actor’s Josh Hartnett first time to work in the West End theatre.
Overall, his performance is satisfying but without anything exceptional in it. In fact, his approach to the role brings to mind Tom Cruise’s performance.
It seems that Hartnett has not interpreted the character through his own personal angle, instead he partially imitates Cruise’s acting.
The lines do not always come naturally to him and the long pauses between the dialogues occasionally seem artificial and redundant.
This is unfortunate given the fact that Charlie Babbitt is a role quite suitable for him.
On the other hand, Adam Godley’s approach of the mentally disabled Raymond is remarkable. Godley has succeeded in avoiding the imitation of the sublime Dustin Hoffman.
To the contrary he handled the difficult and extremely demanding role of an artistic savant in an excellent manner. Particularly during the fits he gives an outstanding performance.
Raymond is clearly the star of the show. He creates the feeling of sympathy to the audience, firstly because of his condition and his inability to understand and cope with things that we all take for granted.
But his character is multidimensional since he is the one to cause laughter to the audience.
Adam Godley managed to incarnate Raymond in a natural, real and authentic manner without copying his predecessor who happens to be one of the greatest actors of all times.
Except Adam Godley’s performance the most astonishing about the theatrical adaptation of this Hollywood movie is the setting.
The fact that ‘Rain Man’ is actually a road movie makes it even harder to be enacted on a motionless and static stage. However, the stage designer, Jonathan Fensom, has achieved the unattainable.
The limitations of the theatre are lifted, while the audience faces a transforming setting. In every scene the surrounding of the actors changes in order to adopt to the scenario’s needs.
The use of an adjustable tiled-coloured frame gives the impression of a real wall.
This technique makes the audience believe that there is indeed a three dimensional setting almost like in real life.
This play is an example of how to avoid the blankness and stability of a minimal setting.
Overall, it is a well-developed try to enact a road movie in the confined space of the theatre stage.
