The Silence of the Lambs – Alhambra Theatre, Bradford

Writer: Thomas Harris

Adaptor: Gina Gionfriddo

Director: Nikolai Foster

This is the first stage adaptation of the iconic psychological horror novel by Thomas Harris, brought so memorably to life on the screen in 1991 by Anthony Hopkins and Jodie Foster. Such is the power of the original novel and film in the public consciousness that any theatrical production has a hard act to follow. The fact that it succeeds brilliantly is down to the quality of the script, an arresting and engaging set design, a terrific cast and two stand-out performances from the central pairing of John Partridge and Mollie Gallagher.  

One has almost to forget about the film and judge the production on its own merits, of which there are many. Gionfriddo has drawn heavily on the original source material in bringing out more of Clarice Starling’s psychology and Jamie Gumb’s (“Buffalo Bill”) backstory. The result is a more fully rounded theatrical experience than perhaps expected. Gallagher’s character is a rookie investigator who might easily have been out of her depth in taking the lead into the investigation of the serial killer known as Buffalo Bill with the help of the brilliant but twisted Hannibal Lecter, and what is remarkable is the fact that this is Gallagher’s actual professional stage debut in a delicious case of life imitating art.

Gallagher is on stage virtually throughout and gives a confident and assured performance with a consistent West Virginia accent. Gionfriddo saw the original setting of the novel in the 1980’s and its themes of attitudes to women as still being relevant today, and the way that Starling’s colleagues routinely dismiss her for being a woman in the field – despite the fact and probably because of – she far outstrips them in skill, aptitude and intelligence will resonate with modern audiences.

Gallagher portrays two central relationships, one with her boss Jack Crawford (Oliver Farnworth) and the other, of course, with Lecter. She displays the combination of the student willing to learn from both and the determination to succeed in the face of overwhelming odds. Her exchanges with Crawford necessarily move the plot along with little hints that perhaps she holds more than just respect for him, although there is nothing blatant in this regard. When it comes to Lecter she is, as you would expect, wary of him at first but during the course of their relationship gradually becomes more confident and even assertive, achieving a sort of grudging respect from Lecter along the way. Based on this performance Gallagher can surely look forward to many more successful stage parts to come. 

John Partridge is simply excellent in the iconic role of Lecter. From his very first appearance in the cage that acts as his cell in the mental asylum in which he is kept to his final scene enjoying his new-found “freedom” he exudes charisma and a latent energy and power that is quite mesmerising to see. His movements are slow and deliberate but behind them is a razor sharp mind. Gionfriddo writes that “he presents as so refined and intelligent and accomplished, but the nature of his crimes means he becomes an animal” and you always sense that Partridge is able to bring all that to the table. In one scene between him and Gallagher he explodes at one point and all he does is raise his voice and put both his hands on the glass walls of his cage. This has the effect of making members of the audience jump and never was the case of “less is more” more evident. Another example of this is in the second half when the straitjacketed and muzzled Lecter manages to evade his guards and break free. The accompanying violence is swiftly and brutishly achieved and you are almost rooting for this dangerous criminal  who has got the better of his captors – as you knew he always would. 

Sam Jackson also deserves a mention as Jamie Gumb, the brutal serial killer at the heart of the investigation. His presence on stage is fairly constant and not only when he has dialogue. He comes and goes in the background, as it were, wordlessly going about his business in a menacing way. When he does speak it is always with a potent evil of intent mixed with a deviousness that is unsettling to behold.

The set design by Michael Taylor is extremely effective and eye-catching. The use of a staircase and rusty steel bridge allows for flexibility of action and movement and gives the impression of a split screen cinema effect but achieved on the stage. Varying scenes, be it the Baltimore Hospital for the Criminally Insane, the FBI training academy, Crawford’s office or the basement of Gumb’s house where he keeps his victims are all accommodated seamlessly allowing the action to be adds to the overall atmosphere of menace and foreboding. 

This production is highly recommended to see just what can be done to transfer such an iconic and memorable movie to the stage.

Runs until 17th October 2026, before continuing on tour