Dan Brown’s 2003 mystery thriller novel The Da Vinci Code has sold more than 80 million copies - so many copies, in fact, that in 2017, Oxfam put out a message begging people to stop donating the book to its charity shops! If you haven't read it, you definitely know someone who has. The book spawned a 2006 film starring Tom Hanks and has now been adapted into a play by Rachel Wagstaff and Duncan Abel. But how well does this fast-paced, twisty-turny tale translate onto the stage?

The play follows much the same story as the book, beginning with symbologist Robert Langdon and cryptologist Sophie Neveu meeting at the scene of a crime. Sophie’s grandfather, the curator of the Louvre, has been murdered and the cryptic message he left behind makes Robert the police’s prime suspect. Sophie helps Robert evade the police in return for his aid in deciphering the clues her grandfather left behind for her, and they quickly find themselves on a hunt to discover the location of the Holy Grail before it falls into the wrong hands. 

The atmosphere is set as soon as you enter the theatre. The glass screen in the centre of the stage features a massive projection of Leonardo Da Vinci’s Vitruvian Man and portraits are projected onto the side walls. To increase the sense of being in the Louvre, the pre-show announcements are in French, which is fun (though perhaps not much practical use to those audience members who don’t speak the language!) Throughout the show, David Woodhead’s striking sets are used to great effect, with the stage switching seamlessly between a museum, a bank vault, a country house, an aeroplane and an abbey. The sets are further enhanced by Lizzie Powell’s stunning lighting and Andrzej Goulding’s video projections, which beautifully bring to life the process of code-solving.

We are thrown straight into the action at the start of the play and the pace doesn’t let up throughout, with Luke Sheppard’s swift direction meaning that there’s not a boring moment, even during exposition sequences. However, cutting an almost 600-page book down into a play that runs for only one hour and 40 minutes (excluding the interval) was always going to be a challenge, and the abrupt start, rapid pace and trimmed down scenes mean that character motivations become muddy, and the different organisations caught up in the battle for the Grail are only superficially explained. This can lead to confusion for viewers who aren’t familiar with the storyline. A few extra minutes taken at the beginning to establish the characters a little more, and a clearer explanation of the Opus Dei sect would make a big difference.

The cast perform admirably, with Hannah Rose Caton making a powerful theatrical debut as the sympathetic Sophie. Nigel Harman is likeable and often gently amusing as Robert, though he feels a little underused, and Joshua Lacey is an impressively intense Silas the monk. The standout performance comes from Danny John-Jules in his turn as the eccentric Sir Leigh Teabing, an elderly gentleman whom Robert turns to for help due to his vast knowledge of the Grail. The supporting cast are also great and provide some welcome moments of humour.

The show might benefit from more character development and a little breathing space, but it’s nevertheless a fun ride, beautifully staged and with a quality cast. It’s worth checking out, regardless of whether you’re already familiar with the story. After all, where else can you have a night out at the Louvre while not leaving the UK?

*** Three stars

Reviewed by: Laura Lott

The Da Vinci Code plays at the Belgrade Theatre until 26 February before continuing its UK tour. Tickets for select venues can be purchased here.