The Shawshank Redemption

Alongside Stephen King’s tapestry of iconic horror stories and characters sits a story quite different from the rest but just as riveting. Made famous by the 1994 Frank Darabont film, many people are unaware that Stephen King was responsible for the original source material, with the extended title of Rita Hayworth and Shawshank Redemption. Yet this story has been critically acclaimed for decades despite its small and unlikely beginning. After first premiering on stage in 2009, Owen O’Neill and Dave Johns’ adaptation is once again touring the UK throughout the first half of 2026.

Set within the cold, confining walls of Shawshank State Prison, excellently reflected by Gary McCann’s set design, the story takes place over 20 years. It follows the self-proclaimed innocent Andy Dufresne as he navigates both his fellow inmates and those in authority. Though the cast is responsible for much of the storytelling, the production and crew play a significant role in bringing the world to life. Recognisable songs such as ‘Walk the Line’ and ‘Twist and Shout’ help portray the passage of years. This is further enhanced by Andy Graham’s sound design, which allows the music to feel both diegetic and symbolic of time. Additionally, lighting designer Chris Davey utilises shadows and light to create imposing silhouettes of antagonists, while also showing warm glows of sunlight that feel just out of reach. This further deepens the trapped feeling experienced by the characters.

The cast of 12 all deliver in their performances throughout the play. The chemistry between them and every relationship feels genuine and built upon years together. Through alliances and enemies alike, there is a strong sense of history between inmates that is clearly on display in group scenes. Secondary characters lack no depth compared to the protagonists and even in the background feel alive. Whether it is Ashley D Gayle’s piercing cackle as Rooster, Samarge Hamilton’s sweet sincerity as Rico, or Graham Elwell’s insecure yet frighteningly powerful Hadley, every character feels fully realised. This brings the story together even more. I felt this was further supported by the costume design, also by Gary McCann. Despite the uniformity of the prisoners’ clothing, each identity felt distinct. Andy’s personality is emphasised by his rolled down sleeves and tucked in shirt. The more relaxed fit of long-term inmates such as Bogs and Red reflects the time they have spent there. The subtle differences in what could have been a very standard set of costumes are an excellent display of McCann’s skill.

Of the secondary characters, I want to give special mention to Kenneth Jay’s portrayal of Brooksie, the elderly librarian inmate. What begins as a depiction of a mild-mannered old-timer becomes a heartbreaking yet gripping performance of a man who knows nothing but how to be a prisoner. In the second half, Jay holds both the audience and the prison in his hand as he delivers a tragic monologue that persists in reality to this day.