The Lovely Bones

Heaven Scent

The Lovely Bones

by Bryony Lavery, after the novel by Alice Sebold

Putney Theatre Company at Putney Arts Theatre until 27^th April

Review by Denis Valentine

It is always a challenge for a show that has been adapted from not only an award-winning book but also a film to stand comparison.  What the Putney Theatre Company has accomplished here with The Lovely Bones is nothing short of a triumph and fully deserves to be recognised as a top tier piece of theatre.

The stage design by Simon Crump immediately grabs the attention when entering the theatre.  It is visually impressive from the outset, and what takes place upon it more than makes the most out of what was afforded by it. 

With a large cast Director Frances Bodiam has done brilliantly to ensure each character is fully formed and gets the time and space to have their own moment when their character’s story comes to the forefront, even if it’s only a momentary glimpse into what they are going through. 

First mention performance-wise fittingly goes to the lead, Isabelle Walsh-Whitfield as Susie Salmon, who is not only extremely likable as a leading lady but is very believable and her character fully realised throughout.  She conveys such great pain, hope and strength that the audience feels every moment she intends, and her character’s journey is fully realised, and each moment comes across with real feeling and clarity.  Walsh-Whitfield also shows a great flair for deadpan humour and makes the most of any chance of injecting this into any scene when fit. 

Andrew Curry as George Harvey gives a wonderfully sinister performance and there is a genuine unease felt whenever his character is on stage (or even just watching from the side).  Curry’s switches, between the facade of the nice neighbour to the evil being that lurks underneath, is seamless and so unnervingly smooth. 

The opening scene between Isabelle and Harvey features extremely harrowing subject matter and the two actors, and the crew behind them, deserve much praise for how well it is handled.  The horror of what is being depicted is not shied away from or theatrically glossed over in any form, but is in no way gratuitous or exploitative.  It sets a high bar of intrigue and staging for the rest of the show (which it manages to live up to). 

As much as Walsh-Whitfield and Curry deserve praise, another almost show stealing performance comes from Ava Moore Hobbis whose suffering and pain is brilliantly crafted in her performance as Susie’s sister, Lindsey Salmon.  Her character’s journey from a silently suffering young girl to a strong, capable, about to be married woman is fantastic to watch and in quite understated terms emerges as almost the hero of the whole piece. 

There are great performances across the whole cast, with every actor delivering well, with their own character stories and each player feels fully realised in their own and combined world.  Whether it is Catherine Roche as the silently grieving mum Abigail, who eventually finds comfort in someone else; or dad Jack (Tim Iredale), borderline out of control (although he’s right); all these character journeys feel very real, manically nuanced given the circumstances, but still coming from a genuine place.  Away from the family dynamic, mention must also go to Jason Rosenthal, Detective Fenerman, very well underplayed by the way he suffers in silence from the loss of his own wife.  The audience really feels the frustration and then connection that he shares with Roche’s Abigail. 

The only slightly contentious note on how the characters are depicted is by having one or two cast members playing characters outside of their typical age range.  It makes certain moments, especially when it comes to relationships with younger cast members slightly visually jarring and makes those scenes seem slightly less authentic than all else around them.   

As mentioned, the stage is not only well crafted, but is also wide and this affords plenty of room to encompass the different settings and areas that take place within the course of the play.  It allows the actors plenty of space when needed, but can also seem closed off and isolating when the time is right. 

The show makes the most of each moment it offers with some great innovative staging work.  Whether it is past victims appearing in shadow behind a screen, Susie possessing another character (the eccentric Ruth Connors gamely played by Alice Jade) or her accompanying Lindsey breaking into Mr Harvey’s house, each moment feels meticulously directed down to the finest detail to get the most out of each scene. 

As well as having a great stage to work on, the lighting (Martin Jessop, Kate Lawrence) and sound design (Nick Wells) is superb.  When needed the sound and music fully enhance whatever is happening on stage and, whether it be an ominous beat, or a candle-lit vigil, all helps bring a very visceral feeling to whatever is going on.

The Lovely Bones is a superb show mixed with despair, hope, growth and humour, with great performances across the board and would truly not be out of place in any venue whether it be Fringe, Off or On West End.

Denis Valentine, April 2024

Photography by Reynaldo #brigworkz Brigantty