Switzerland

Review by Lisa Butler.

“I like murder … I’ve committed THOUSANDS.”

I love a good fictional murder as much as the next girl, and have written a few myself, so was full of anticipation to watch a play inspired by Patricia Highsmith.

Highsmith wrote 22 novels, around a hundred short pieces, and created the character Mr Ripley, which, if you haven’t read the books, has also been on film and TV in more than one adaptation of “The Talented Mr Ripley”. Mr Ripley is the anti-hero and a murderer, but we follow his story, and Highsmith helps the reader empathise with him and even want him to succeed.

This is play is not that story.

Set in 1995 in the Swiss Alps, where Patricia Highsmith (played by Catherine Russell) lived her last few years as a recluse, it tells the story of Edward Ridgeway (Jamie Sayers), sent by her New York publisher to persuade Highsmith to write a final instalment of her best-selling Ripley series.

Written by Joanna Murray-Smith (Berlin, Honour, A Talent for Murder and many more) the play explores the characters of Patricia and Ridgeway (and Ripley) as well as covering themes of murder, death and mortality. It is set in the year that Highsmith died, but is a fictional exploration of her character and attitudes. It explores deep themes around death and the author’s fascination with murder, as well as including colourful language and the prejudice attitudes the author was known for.

However, this is crafted against the humour of Highsmith’s character and the prickly, cutting comments that the writer has gifted to Patricia as she expresses her attitudes towards the world.

In two 50-minute acts the actors brought to life the two characters in such an engaging and clever duologue that you will be surprised when the interval arrives ‘already!’.

I was certainly captivated by their performances: Russell brings a long and prestigious CV with credits from theatre, TV and film, while Sayers is relatively new to professional acting but is no less engaging for it. There were clear changes in his character throughout the play as we follow his transformation.

I can’t say more about the plot without giving away spoilers, but I will reiterate this is a fictional account delving into the mind of Highsmith as imagined by Murray-Smith.

There is a single set, the lounge/study of Highsmith’s Switzerland hideaway, which is simply decorated with minimal furniture and décor of guns and knives and a fireplace. The lighting changes show clear changes in mood and time of day, including the cosy glow when the fireplace is lit. The set uses a lowered ceiling to give the better impression of the room and was very effective.

You can see and read about the set design in the glossy programme.

There is also a huge screen across the back of the set forming a window on the Alps which is deliberately cinematic in style. The whole set achieves its aim to bring a sense of oppression and an almost claustrophobic environment inside a box.

There is a long list of experts that have brought this production to stage, many from London, but it is essentially a home-grown production by the Theatre Royal. It is Produced by Zoe Fox, the Head of Producing at the Theatre Royal, and Directed by Owen Calvert-Lyons, who is the Artistic Director and CEO of the Theatre Royal. They must both be extremely proud of this production - it brings a London quality production to Suffolk.

This play is delightful to watch, despite the heavy subject matter, and the humorous lines had the audience laughing out loud in all the right places. Even if you have never heard of Highsmith or read her works, I think you would find this a fascinating and entertaining play to watch.

And you’ll think you have had a trip to the West End.

Switzerland is at Theatre Royal, Bury St Edmunds until 24 October 2026.

FOR SHOW DETAILS AND BOOKING LINK, CLICK HERE