Gough and Crudup are perfectly partnered in Roth’s whip-smart Western
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It’s a nice day for a wood panelled wedding, until news of an outlaw's return cuts the happy couple's reception short. While the clock strikes above, recent vows are tested, as the groom - retired sheriff, Will (Billy Crudup) - must choose between his civic duty, personal responsibility and his bride's (Denise Gough) unwavering beliefs.
Eric Roth’s blistering adaptation of the 1952 Oscar-winning western is explosive as a Colt revolver, and at one hour 40 minutes straight-through, just as compact. Like the genre-defying film, the production doesn’t rely on horse chases, 10-pace duels or bar brawls to get the audience's hearts racing - the drama lies in Crudup and Gough’s emotional vulnerability, as the two protagonists, Amy and Will, navigate the moral and emotional conflicts that push a town, and marriage, to breaking point.
Played in real time, the couple have 90 minutes until convicted felon, Frank Miller (James Doherty), arrives. Amy, a quaker and pacifist, wants to use the time to put as much distance between themselves and danger as possible. “I will not become a widow on my wedding night” she cries. While Will - the sheriff who arrested Miller - is determined, by a sense of duty, ego and honour to stay put and confront Miller once more. Though he no longer wears the tin star, he feels the need to defend the town - even when its citizens refuse to join the fight, and abandons the man that has protected their homes for the past two decades.
Billy’s no kid when it comes to the West End. Crudup was nominated for an Olivier at last year's awards for his incredible turn as the titular character in the one-man show, Harry Clarke, and following this performance we wouldn’t be surprised if he goes one better. He has a quiet fire as the town's sheriff, which we watch it simmer and burn as he grows increasingly frustrated with his lot. He is conflicted and complex, he wants to give his wife the best life he can, and gives up his job in order to better align with her religion, but he can’t deny his own beliefs - that in order to live in peace, you must be willing to start a war.
Gough more than matches Crudup's performance. She is earnest in her role, showing Amy’s many layers - she isn’t a passive pacifist, she is hell-bent on protecting her beliefs and her husband's soul. She has witnessed too much bloodshed for one lifetime, and is willing to sacrifice her happiness if it means she will not see a drop more. Her voice catches as she softly sings mournful songs. She is unraveling before our eyes, but we can see she is (ironically) a fighter. She will be heard, even if it hurts her.
Rosa Salazar is a standout as Helen Ramirez, a Mexican business woman who shares a past with Will. She is outspoken, fierce and refuses to be pushed around. Salazar shines as she saunters across the stage, her tongue as pointed as her boots as she rejects the deputy’s advances, confronts Will and eloquently dispels Amy's accusations.
All of the action is set in simple wood panelled surroundings. There are no swinging saloon doors, or a bunch of cacti transporting us to the wild west of old cartoons in Tim Hatley’s sleek design. This is clean of gimmicks and garish kitsch, which allows the cast to shine. It feels fresh and modern, yet reminiscent of Westerns of old.
[High Noon](https://www.londontheatredirect.com/play/high-noon-tickets) plays at the [Harold Pinter Theatre](https://www.londontheatredirect.com/venue/harold-pinter-theatre-london) until 6th March 2026.