Writer: Rachel Wagstaff and Duncan Abel (based on the novel by Paula Hawkins)
Director: Loveday Ingram
Few psychological thrillers of the last decade have enjoyed the success of The Girl on the Train. Paula Hawkins’ novel raced to the top of bestseller lists, the Hollywood adaptation quickly followed, and now, Rachel Wagstaff and Duncan Abel’s stage version continues its journey across the UK. Yet, for a story built on tension and fractured memory, this production struggles at times to maintain its grip.
As the troubled Rachel Watson (Giovanna Fletcher), our unreliable narrator, drifts between obsession and blackout the audience is pulled into an eerie, noir-like atmosphere. However, despite its source material’s tightly wound suspense, this incarnation takes its time to get going. The first act meanders a little at times, stretching out significant moments in a way that dampens, rather than builds, intrigue. By the time the second act finds its stride, it almost feels like a different show: suddenly faster, sharper, and suspenseful.
The staging here is sparse but effective. Adam Wiltshire’s minimal design makes smart use of lighting and shadow to mirror Rachel’s paranoia and fractured state of mind. The lack of elaborate set pieces works in the show’s favour, allowing the focus to remain on the characters and their tangled relationships. The transitions between locations, from Rachel’s dingy flat, to the train, to the Hipwells’ home, are handled smoothly with subtle shifts in lighting and staging that keep the narrative flowing. The restrained use of light and movement that serve for the train also work well, creating impact and effect that don’t distract from the plot.
Performance-wise, it’s Natalie Dunne as Megan Hipwell and Samuel Collings as Scott Hipwell who give the strongest performances. Dunne’s Megan is a compelling mix of fragility and defiance, making her presence felt in every flashback. Collings, meanwhile, is a compelling blend of grief, anger, and menace which keeping the audience guessing whether Scott is a victim or something more sinister. Chemistry between the cast is a bit of an issue throughout, with moments of tension falling flat, and there is often an overuse of characters shouting their anger to try to compensate for this which occasionally derails the flow.
For those who have read the book or seen the film, the question remains: does this production bring anything new? Not really. It’s a functional adaptation of the story but lacks elements to make it truly gripping. It’s a solid, no-frills retelling that entertains, but may not linger in the memory.
Runs Until: 8 February 2025