Bill Crudup and Denise Gough in High Noon [Johan Persson]

SET in the American West of the 1800s, Eric Roth’s stage adaptation of High Noon, based on the screenplay by Carl Foreman, opens with a wedding. Long-serving marshal of Hadleyville, Will Kane (Billy Crudup), is marrying his Quaker fiancée Amy Fowler (Denise Gough) and preparing to retire.

But then he learns that notorious outlaw Frank Miller (James Doherty) has been released from prison and, seeking vengeance on the man who put him there, is due to return to town at noon.

Will feels duty bound to stay and confront Frank but Amy, unable to countenance violence, decides to leave town. She is accompanied by the gutsy Helen Ramírez (Rosa Salazar), a Mexican businesswoman and owner of the local saloon.

Will spends the morning trying to rally support among the townsfolk, but they refuse to help him.

His deputy Harvey (Billy Howle) is resentful that he didn’t back him for promotion, and Will is left to confront Frank on his own.

There’s much to admire in Thea Sharrock’s production – not least the convincing portrayal of a frontier community – but inexplicably we are given only fragments of songs (ranging from Ry Cooder to Bruce Springsteen). It’s as if the production can’t decide whether it wants to be a musical or a western.

While the film critiqued McCarthyism, its themes of intimidation, loyalty, and civic cowardice resonate today.

Tim Hatley’s evocative wooden slat-design is dominated by a clock counting down the minutes (in real time) to Frank’s arrival. High Noon is impeccably acted – particularly Crudup, Gough and Howle who fully inhabit their roles – but the uneven pacing and muddled tone  blunt its impact.

Until March 7
highnoontheplay.com