CULTURE CLUB
Much more than a potboiler MIRIAM BALANESCU HEADS BACKSTAGE TO CATCH UP WITH THE CAST OF CAMBRIDGE ARTS THEATRE’S FATAL ATTRACTION BACKSTAGE
any will be familiar with the ratcheting suspense, unbearably tense twists and unfortunate treatment of
SCREEN TO STAGE Oliver Farnworth takes Dan in a different direction to the movie
25-30 APRIL
rabbits in Adrian Lyne’s 1987 film Fatal Attraction . This month, Cambridge Arts Theatre hosts a dramaturgical adaptation of the iconic on-screen slasher-thriller, produced by the Academy Award- nominated writer James Dearden, with Louise Redknapp, Susie Amy and Oliver Farnworth taking centre stage. After Dan Gallagher (Oliver) indulges in one night of unfaithfulness, he sends his seemingly happy marriage into a spiral of disruption. The lives of two women, wife Beth (Louise) and editor Alex (Susie), are hurled into chaos. “I haven’t seen the film in 20 years,” says Oliver. “I chose not to rewatch it because when you’re doing any screen adaptation for the stage, especially an iconic one, you can always fall into the trap of mimicry, rather than originating something yourself.” Brought up to date, the theatrical version – on tour since January – stays true to the original ending, previously deemed “not Hollywood enough”, says Susie. “There’s more focus on mental health. Alex was labelled a bunny boiler. These days, we’re looking more closely, thinking about how you treat people and what impact our actions might have.” A subtle, post-Me Too shift in awareness has coloured this play; while plot points have not changed, audiences are likely to take away a very different story than that told 30 years ago. Themes of culpability and retribution run high. “The character I’m playing is a flawed, sometimes repugnant, quite misogynistic individual,” says Oliver. The Yorkshire-born actor does not have much in common with Dan, a
ONCE IT STARTS, IT NEVER STOPS: THE TENSION WINDS UP AND UP
rehearsal process is fun, because at times we have no idea what is going on.” As theatre tentatively returned, the cast rehearsals in December and January were suffused with hope. “Everybody’s just so grateful to be working again after this awful time, and enjoying such a dynamic story,” says Susie. Covid-19 did imperil the process slightly, with the cast working harder in case rehearsals were closed and Susie missing the tech run-through while unwell – the following performances her most memorable experience of the tour so far, she says. When it reaches us, Fatal Attraction may have transformed since its initial run. “Every week is fresh,” Susie says. Oliver adds: “Somewhere like Cambridge, you have a solid core audience who are very committed, and they’ll go to see lots of different things. “Once it starts, it never stops: the tension winds up and up. We’re presenting the original story with a bit of a twist, and all kinds of theatrical bells and whistles as well,” Oliver says. For a modern take on a murderous classic, see Fatal Attraction at Cambridge Arts Theatre, 25 to 30 April.
high-flying New York attorney. “You’ve got to break the character down physically: how does his day-to-day life manifest in his body, his movements, his attitudes towards others, the way he talks? It’s about understanding why behaviours are inherent in certain people.” Susie, switching characters for the Cambridge production, has been rehearsing for the role of Alex by day and playing Beth by night. “They are two very different performances, which is great. When you do a long tour, you usually do the same thing week to week.” She describes Alex as a roller coaster; she has steered clear of copying Glenn Close or even fellow cast-member Kym Marsh, to offer her unique interpretation. James – knowing Fatal Attraction inside-out – has afforded the play a new level of detail. “He’s absolutely not precious with his work, which I think is quite commendable when you’ve written something iconic,” says Oliver. “There’s never a dull moment – the scenery constantly shifts. Costume changes happen on stage, bits of furniture and props fly on and off during scenes. The
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