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Hugely ambitious adaption which needs a budget to really shine. Summary
Rating
Ok
Tackling a beloved Philip K. Dick short story previously adapted into a blockbuster by Steven Spielberg starring Tom Cruise was always going to be a challenge. Programme notes by writer David Haig talk about having permission from the Dick estate to work with the concept– a free hand, if some of the core components of the original are kept. Haig runs with this, moving the story to London and gender-swapping the lead while adding his own spin.
British Pre-Crime, a team of pre-cognitives, monitors the population’s thoughts to prevent crime before it occurs. If you start to think about committing murder, you will find yourself locked up in a humane detention facility before you can do anything. As a result, murder and other serious crimes have been eliminated.
We learn this in a presentation from Julia Anderton (Jodie McNee), head of British Pre-Crime. A big dose of exposition gets crammed into the opening minutes, with Anderton addressing us directly, keeping the house lights on as though we’re part of the audience within this presentation – a clever breaking of the fourth wall. During the presentation, the pre-cogs report that Anderton herself is guilty of pre-crime, she is going to commit a murder. Anderton goes on the run, convinced she would never do this and seeks out the flaw in the infallible system which has accused her. Her story plays out in real-time.
There is a lot in the original themes that have kept the story timeless and relevant today. Do we have free will? Can we change our minds? Unfortunately, Haig and director Max Webster have barely skimmed the surface. Haig adds a plot about Anderton’s murdered twin sister. However, it falls short of delivering any real emotional depth or connection, leaving a lack of impact and drama. The commitment to running in real-time leaves everything rushed and removes any chance to find depth and emotion. Haig’s script then takes exactly the predictable turn that you don’t need a pre-cog to have seen coming.
Everything is overshadowed by an attempt to turn the stage into something out of a sci-fi blockbuster. There is huge ambition in the presentation designed by Jon Bausor but much of it falls flat. The aim clearly falls significantly shorter than the budget allows. It is to the team’s credit that they manage distinct locations, but many feel like they were added for the sake of a set-piece. A car chase feels notably lacklustre, with a small platform rocking awkwardly from side to side. The more subtle work – light (Jessica Hung Han Yun) sound (Nicola T. Chang) and video (Tal Rosner) – is considerably more effective evoking Bladerunner, the classic Philip K. Dick adaptation.
Anderton is helped by David (Tanvi Virmani), her AI hologram. The production’s best visual is the moment when this switches from a recording to a live actor and is one moment where really smart design – unaffected by budget constraint – can dazzle. It takes a beat for the audience to realise the change. David is erratic and is coerced into cooperation with a threat of a downgrade to Siri-level intelligence. While Virmani looks to be having fun, David feels shoehorned in as a poor attempt at comic relief. Many of the characters feel this one-note, and the cast appear directed to be loud and to ham up their performances.
The ambition alone makes me keen to see Max Webster’s take on this with enough of a budget to make the design really sing and a script not constrained to run in a short 90 minutes real time. For now, this is a frustrating evening which misses the mark too often.
Written by: David Haig
Based on the short story by: Philip K. Dick
Directed by: Max Webster
Production Design by: Jon Bausor
Video Design by: Tal Rosner
Composer and Sound Design by: Nicola T. Chang
Lighting Design by: Jessica Hung Han Yun
Minority Report plays at Lyric Hammersmith until 18 May. Further information and bookings can be found here.
