MickeyJoTheatre Podcast: High Noon (Harold Pinter Theatre) – ★★ Review

Episode Overview
In this episode, host Micky Jo (of the MickeyJoTheatre YouTube channel and podcast) provides an in-depth review of the new stage adaptation of High Noon at the Harold Pinter Theatre in London’s West End, starring Billy Crudup and Denise Gough. Micky Jo examines the production’s origins, its adaptation from the iconic 1952 film, the creative choices, performances, themes, and whether the material justifies its stage translation.

Main Theme

Exploring the Challenge of Adapting Western Cinema to the Stage
Micky Jo evaluates High Noon as a test case for bringing a beloved, genre-defining Western film to the stage—deliberating both the necessity and the effectiveness of such an adaptation, and whether the themes connect in today’s context.

Key Discussion Points and Insights

1. The Premise, Context, and Adaptation (02:23–06:41)

• High Noon is adapted from the celebrated 1952 Western film, known for its progressive depiction of women and its critique of community morality.
• Playwright Eric Roth and director Thea Sharrock bring this classic to the stage, with a focus on real-time storytelling as the clock ticks down to an anticipated showdown.

Quote:

“Why is High Noon happening at the theatre at all?”
— Micky Jo (03:44)

• The moral crisis of the protagonist, Marshal Will Kane, unfolds against the looming arrival of outlaw Frank Miller: “With approximately 1 hour and 40 minutes until he is going to arrive... Will has this sense of duty and obligation that he can't leave the people of the town…” (05:55).

2. Does This Story Belong on Stage? (06:41–10:42)

• Micky Jo questions whether the Western, a genre visually defined by vast landscapes, can be effectively transposed to a static, wooden, single-set stage.

Quote:

“We are of the location, but we are of really just one sense of the location. We don't have these, like, rolling panoramic views... And what's curious is this is not the only recent production to feature a clock on stage and the idea of time ticking down...”
— Micky Jo (06:49)

• The use of “real time” doesn’t pay off as it does in other stage thrillers: “In this, it feels like the whole thing is happening over about 12 hours, even though it’s meant to be less than two. For one thing, he's sort of on stage in every single scene…” (08:18).

• The sessions where Will seeks deputies lack urgency: “He goes from person to person... trying to rally support and meeting opposition for a whole host of different reasons. Each time we move into these extended passages of dialogue where we turn the whole thing over again and again and everyone uses two or three sentences to say the same one thing repeatedly with no sense of haste.” (09:10)

3. Modern Resonances and Political Allegory (10:42–12:19)

• The play tries to draw an allegory between Frank Miller, the outlaw, and political populism, hinting at contemporary United States politics, specifically the re-election of Donald Trump.

Quote:

“It is an allegory for the current way of thinking in America and for the recent re-election of President Donald Trump. It's a way of talking about everything that is happening there through the lens of this piece of classic cinema, which is fascinating as an idea and doesn't really work.”
— Micky Jo (10:52)

• However, this contemporary reading feels forced: “The notion of Frank Miller as any kind of a populist voice feels... shoehorned into this narrative like a pair of ill-fitting cowboy boots.” (11:22)

4. Creative Design and Staging Critique (14:13–19:03)

• The set (by Tim Hatley) is wooden and unvaried, with costumes that lack distinctiveness.
• Lighting by Neil Austin stands out, but the use of pre-recorded music and moments of group singing were jarring:
  • “The inclusion of music here was a huge problem and it started on occasion to feel surprisingly proximal to musical theatre... If it's a character within the play singing diegetically... that's fine. But the way that it was lit, the way that it was too supported by too much pre-recorded instrumentation, it started to feel like musical theater and it started to feel like bad musical theater.” (14:59)
• Confusion abounds from actors “multi-rolling” (playing several different characters), making it hard to follow the story, especially from farther back in the audience. Costumes are too similar for clarity.

5. Memorable Moments (Climactic and Comical) (19:03–21:04)

• The climactic fight scene between Will and his deputy is unintentionally humorous:
  • “...they're rolling around on the floor tussling with each other and biting each other and headbutting each other. Unfortunately, the whole thing plays a little bit laughably, especially because of dialogue that the deputy character has when he talks about one occasion when he saw the then marshal showering through a crack in the door and describes it in explicit detail, which makes you think the scene’s about to go in a completely different direction.” (18:21)
• The arrival of Frank Miller, executed with strong visual and lighting effects, is diminished because the actor is recognizable from other roles earlier in the play.

Quote:

“Because the arrival of Frank has been so anticipated, he ought to be played by an actor we haven't seen already and not one who we have already met as multiple different characters. So this very epic entrance that he has is somewhat diminished...”
— Micky Jo (20:04)

6. Performances and Acting Choices (22:02–29:30)

• Billy Crudup (Will Kane): Competent but one-note, not able to showcase his full range.
  • “The one thing he doesn't really get to show in High Noon is anything resembling range. He delivers this one aspect, this one note of characterization very, very well, but it's all he really ever gets the chance to amount to.” (22:15)
• Denise Gough (Amy): Sidelined and underdeveloped role; weak chemistry with Crudup.
  • “...she has this sort of slightly pointless reduced role that amounts to something very significant by the end, but can't possibly measure up to the extent to which she's been sidelined.” (22:38)
• Multi-roling leads to audience confusion; supporting characters blur together.
• Standout: Rosa Salazar as Helen Ramirez—the only character with real subplot, development, and charisma.
  • “For me was the shining light of the entire production... She was enterprising and self-sufficient and realistic about the challenges of the world.” (27:57)

7. Final Thoughts and Recommendation (29:30–30:45)

• Micky Jo’s verdict: the play is slow, overtly static, and fails to fully justify its own staging, despite some engaging themes and a reputable creative team.
• Fans of the Western genre might still find it interesting, but it’s not a compelling theatrical experience.

Quote:

"Though I'm ashamed to say it, I sort of couldn't wait for them to start shooting at each other."
— Micky Jo (28:50)

Notable Quotes & Moments

• On Adaptation’s Purpose:
  “Does it need to be on stage in the first place?” (03:25)

• On Allegory:
  “The notion of Frank Miller as any kind of a populist voice feels shoehorned into this narrative like a pair of ill fitting cowboy boots.” (11:22)

• On Tone and Pace:
  “...it feels like the whole thing is happening over about 12 hours, even though it's meant to be less than two.” (08:18)

• On Music & Staging:
  “It started to feel like musical theater and it started to feel like bad musical theater.” (15:19)

• On Performances:
  “Crudup... doesn’t really get to show... range. Frustration grows slightly, and you can see the glimmers of prior resentments... but for the most part he is just singularly focused...” (22:15)

• On Helen Ramirez (Rosa Salazar):
  “She was enterprising and self sufficient and realistic about the challenges of the world... There was infinitely more to gain from any moment when she was on stage.” (27:57)

• On Personal Enjoyment:
  “Though I'm ashamed to say it, I sort of couldn't wait for them to start shooting at each other.” (28:50)

Timestamps for Key Segments

| Timestamp | Segment | Summary | |------------|------------------------------------------|----------------------------------------------------| | 02:23 | Introduction to High Noon | Play origins, cast, adaptation problem begged | | 06:41 | Real-time on Stage Critique | Discusses use/misuse of real-time ticking clock | | 10:42 | Modern Political Allegory | Alleged Trump/populism allegory | | 14:13 | Design and Music Critique | Set, costume, lighting, jarring use of music | | 19:03 | Key Climax, Comical Moments | Fight scene, Frank Miller’s entrance | | 22:02 | Acting Performances | Deep dive on Crudup, Gough, Salazar, and ensemble | | 29:30 | Final Thoughts & Recommendations | Wrap-up, verdict, who may enjoy |

Tone and Style

Micky Jo’s review is witty, conversational, and frank, regularly laced with theatrical references and dry humor. He critiques with precision balanced by genuine affection for theatre, always encouraging listeners to form their own opinions.

Summary in Brief

High Noon at the Harold Pinter Theatre is a well-meaning but sluggish and static stage adaptation of a beloved Western. Despite strong technical designs and a star-studded cast, the concept falters in execution, suffering from unclear multi-roling, musical missteps, and forced modern parallels. Micky Jo singles out Rosa Salazar as Helen Ramirez for praise, but feels the leads and direction leave much to be desired. Fans of the genre may appreciate the effort, but for most, it doesn’t justify its place on stage.

Host: Micky Jo
Original Air Date: January 13, 2026