by Tim Leininger

Daniel Neale in Rope (2025). Photo by T. Charles Erickson.

            Can the perfect murder happen? Well, theoretically, yes, but as Lewis (Ephraim Birney) and Brandon (Daniel Neale) are about to find out, some secrets you don’t want to keep, in Hartford Stage’s world premiere of Rope, a new adaptation of Patrick Hamilton’s play Rope’s End, by Jeffrey Hatcher, directed by Melia Bensussen, running through Nov. 2 at the theater at 50 Church St. in Hartford, Connecticut.

            The original play, Rope’s End was loosely inspired by the 1924 murder of Bobby Franks, who was killed by duo Nathan Leopold and Richard Loeb. The play premiered in 1929 and was later adapted into the film Rope, directed by Alfred Hitchcock. Like the original play by Hamilton, this version of Rope returns the plot back to London, in a flat in Mayfair in the late 1920s. Riw Rakkulchon’s scenic design is gorgeous and immersive with stacks of bookshelves, giving a sense of intellectual extravagance. The most important item in the room, a chest that sits center stage that Lewis and Brandon gaze into at the top of the show. Inside is the body of Ronald, a fellow schoolmate, well, former schoolmate now, whom they just killed with a length of rope.

            Inspired by the concept of the Übermensch, or “superman” conceived by Frederich Nietzsche, Brandon and Lewis believe that they can commit the perfect murder and get away with it because their killing is so random and without motive, it makes it impossible for them the become suspect. To prove this, they invite over their friend Kenneth (Nick Saxton), Ronald’s girlfriend, Meriel (Fiona Robberson), Ronald’s dad, Mr. Kentley (James Riordan), and the professor who taught them Nietzschean philosophy, Rupert Cadell (Mark Benninghofen), for a private evening gathering without raising any suspicion that they’ve just killed someone their guests know.

Mark Benninghofen, James Riordan, Ephraim Birney, Fiona Robberson, and Nick Saxton in Rope (2025). Photo by T. Charles Erickson.

            Unlike the classic “whodunit” mystery, we know from “cue 1” that Brandon and Lewis have killed someone. The mystery thus becomes a matter of “will they get caught?” Will it be Lewis’ paranoia and fear, or Brandon’s hubris, or will they get away with it? From the offset, that is the demeanor both characters exude. Birney’s Lewis is a taut ball of nerves ready to break, while Neale’s Brandon floats with a haughty arrogance.

            This is where the play shows its weak spots. There are little things that are done throughout the set up of the play that become Chekhovian as props get placed a bit obviously that you know are going to return later; it’s just a matter of when and how they will return.

The play also tends to overplay the characterization of the two leads. When the guests arrive, and the scheme officially begins, these character flaws are already present. I would have liked these character elements to develop over the plays 90-minute run instead of being front and center from the start, giving them a bit more casual confidence that devolves as the interactions with the guests cause a bit more of a fissure within and between them. This is especially true for Neale’s Brandon, whose arrogance is so arrogant that for most of the play, there is very little room for him to move the character, at least until the play reaches its climax.

The cast of Rope (2025). Photo by T. Charles Erickson.

            One of the elements that has been controversial over the years with the story and adaptations is the at least implied homosexual relationship of Brandon and Lewis. It was subdued by Hitchcock in his film, but still implied that there was something sexual going on between the two. Here, there is nothing overt happening between the two men, but there is a strong suggestion that at least Brandon is gay with an Oscar Wilde level of flamboyance. Lewis is far less implied. I would understand if there were those who would be insulted by the continuation of the “depraved homosexual” trope but considering that the two characters are inspired by actual male lovers, I personally don’t take much of an issue with it.

            Though I find the direction and writing of Brandon and Lewis to be a bit too leading, I do enjoy the supporting cast, particularly Benninghofen who gives Rupert his own sense of arrogance but not with the fragile sense that Brandon has. His Rupert has earned the wisdom he has and becomes the sort of intellectual detective of the story.

            Even though there are some significant issues with the story and several performances in Rope, it does have an exciting and tension filled journey to it as the audience is primed to take the story from the two killers’ perspective, wondering as each piece of evidence, physical or otherwise, exposes itself, how Brandon and Lewis will maneuver themselves over each hurdle. This is where Bensussen and the cast shine, letting each moment of tension breathe and build to its conclusion.

Ephraim Birney and Daniel Neale in Rope (2025). Photo by T. Charles Erickson.

            Rope has its inherent narrative problems. Not much can be done about that as fans of mysteries and thrillers are going to identify the clues early on how the story will eventually plays itself out. And even though the performances of Brandon and Lewis could have been pulled back a bit at the beginning of the show to build later, it is still a well-paced and beautifully designed work.

ROPE

PRODUCTION

Adapted by Jeffrey Hatcher

Based on the play Rope’s End by Patrick Hamilton

Directed by Melia Bensussen

Scenic Design: Riw Rakkulchon

Costume Design: Risa Ando

Lighting Design: Mary Louise Geiger

Sound Design & Original Composition: Jane Shaw

Wig & Make-Up Design: Jodi Stone

Fight Director: Ted Hewlett

Voice & Dialect Coach: Jennifer Scapetis-Tycer

Casting: Alldaffer & Donadio Casting

Production Stage Manager: Nicole Wiegert

Assistant Stage Manager: Julius Cruz

Associate Artistic Director: Zoë Golub-Sass

Director of Production Bryan T. Holcombe

General Manager: Emily Van Scoy

CAST

Mark Benninghofen as Rupert Cadwell

Ephraim Birney as Lewis

Daniel Neale as Brandon

James Riordan as Mr. Kentley

Fiona Robberson as Meriel

Nick Saxton as Kenneth