Review: Rebus, A Game Called Malice (Touring)

Wednesday 16th October 2024 at York Theatre Royal

⭐️⭐️⭐️

Ian Rankin co-writes this adaptation of his novel along with Simon Reade, and while it has the potential to be a great whodunit in a long tradition of on-stage thrillers, it doesn’t quite manage it. Directed by Loveday Ingram, Rebus: A Game Called Malice is best described as a pretty tame murder mystery delivered with moments of promising tension, but as a whole this play takes too long to get anywhere, and when it gets there, it doesn’t quite feel worth it.

It’s a good story – the plot is sound and the reveal is satisfying – but the journey of this story on stage is not thrilling to watch – it’s more of a gentle stroll through mild crime, without much peril. It’s possible that the show is a little lost on me as someone who hasn’t read the novels (hugely successful as they are), but I’d argue seeing this show with no prior knowledge is a good measure of its clout.

The cast do well with the material, carrying the weight of an entire first act of exposition skilfully (the crime is announced in the last few minutes of Act 1, and feels a long time coming). Teresa Banham is a strong presence as the hemmed-in good wife and hostess of the manor house, joined by Neil McKinven as the disgruntled second husband with a tendency to run hot. 

Gray O’Brien is the laid-back retired cop John Rebus and finds himself not quite the run-of-the-mill guest he thought he was going to be at this fancy dinner party. Abigail Thaw brings gravitas as brusque lawyer type, Jade Kennedy provides plenty of modern relevance as uber-influencer and Billy Hartman is all nervous energy wrapped in ego as the casino big wig with a secret. 

Terry Parsons’ set design is a highlight: all affluence and performative taste at this dinner party for the privileged. Lighting from Matthew Eagland is most notable for its brave (and welcome) departure from the norm of dusky lighting as default for shows of the darker genre – here it’s all full wattage as each guest has their respective secrets unveiled, and it works beautifully. Garth McConaghie’s music segueing into each act is thrillingly dramatic – if more of the show could take inspiration from this area, I think it would be all the better for it.

Rebus may be best for devoted fans who want to see how this character handles a stage, but those seeking thrills from cracking crime thrillers might find this one on the underwhelming side. 

Rebus: A Game Called Malice is at York Theatre Royal until October 19th 2024 – more information and tickets can be found here.