Christiana Rose on Garden Suburb Theatre’s take on the Wilkie Collins classic at Upstairs at The Gatehouse

A black and white image of a group of actors on stage in 19th Century dress — The cast of The Moonstone (Credit – Garden Suburb Theatre)

John Colman’s stage adaptation of The Moonstone, for Garden Suburb Theatre directed with thoughtful precision by John Colmans and Mary Groom, offers an atmospheric and absorbing retelling of Wilkie Collins’s much loved detective classic.

Groom’s additionally editing of the detective story embraces the novel’s layered structure while adding theatrical flourishes, which allow the story to unfold with clarity and charm. The deliberate slow pace at the opening draws the audience gently into the world of the Verinder household where secrets grow steadily more troubling.

Elizabeth Plaskow portrays Miss Rachel Verinder as a spirited young woman whose initial reluctance to see her cousin Franklin hints at deeper complications to come. Daryl Hurst gives Franklin Blake a thoughtful and confident air which deepens as suspicion takes hold, while Edwin Coutts brings an effective silver tongue to Godfrey Ablewhite whose polished manners hide less honourable intentions. The talk of three mysterious visitors and a boy creates a looming sense of threat which sits well within Collins’s intricate plot.

The production makes a bold choice by using a narrator who breaks the fourth wall to guide the audience through narrative gaps. This proves helpful considering the novel’s complex twists. Isabel Barbuk is a poised Lady Verinder and Steve Chapman’s Gabriel Betteredge brings warmth and gentle humour, which contrasts with the tension surrounding the missing diamond.

Rushalee Nirodi provides strong support as Penelope Betteredge and excellent energy and cheek as Octavius. Andrew Wolstencroft expertly distinguishes his roles of the slighted Dr Candy and the trustworthy Mr Bruff. Geoff Prutton’s Ezra Jennings becomes essential to the play’s resolution in solution and experimentation, and as an additional nice touch director John Colmans appears briefly yet effectively as the landlord.

The standout performance comes from Naomi Smallwood as Rosanna Spearman whose soliloquy and confession of love is both moving and memorable. Her portrayal highlights Rosanna’s troubled past in crime and the loneliness which follows her. The depiction of her suicide, though handled sensitively, warrants the clear trigger warning for audiences due to its distressing nature. Tim Solomons delivers a measured and intriguing Sergeant Cuff whose love of botany offers moments of unexpected levity, while his deductions help to anchor the central mystery.

The production captures the moral complexity of the story, particularly as Franklin’s reputation is jeopardised, which Ezra Jennings later helps to unravel and fix. The final scenes retain the novel’s enigmatic quality as the ensemble presents an informed guess concerning the fate of the moonstone. This adaptation succeeds in balancing faithfulness to the source with engaging theatrical choices. With strong vision and a clear sense of atmosphere, it offers an elegant and enjoyable interpretation of the classic.

The Moonstone is at Upstairs at the Gatehouse until 30th November 2025

4 stars

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