Review: The Girl On The Train (touring) Curve Leicester

If you have read the book, or seen the film or indeed both – still go and see The Girl On The Train currently on at Curve Leicester until Sat 9th March. There are several reasons why you should. There is terrific acting from all the company especially Samantha Womack in the lead role of a Rachel Watson. Womack is never once off the stage and goes through the gamut of emotions and all completely believable. She is a superb actress.

The remaining faultless and realistic cast comprises Oliver Farnworth (Scott Hipwell), John Dougall (DI Gaskill), Naeem Hayat (Kamal Abdic), Adam Jackson – Smith (Tom Watson), Lowenna Melrose (Anna Watson), Kirsty Oswald (Megan Hipwell) with Matt Concannon and Philipa Flynn as ensemble.

The tense plot  twists and turns and, given the dark nature of the piece, no one character is without flaws. This is what makes Paula Hawkins’ novel writing so interesting and the stage adaptation by Rachel Wagstaff and Duncan Abel so deeply compelling. We are literally on the edge of our seats especially during the build up to the gripping crescendo ending. This is genuinely exciting theatre and gives the word thriller a proper meaning.

The Girl On The Train isn’t the easiest of book- to – stage adaptations as the style of the novel relates to what is happening in Rachel’s head most of the time. It is a story of loss of memory, investigation and the fear of not knowing who to believe as the story line gets darker and darker. Director Anthony Banks gets the balance of realism and mental activity perfectly right and the production is vastly aided by the superb set design of sliding box habitats, chillingly dark tunnel and wasteland depictions and cleverly thought through projections (Andrzej Goulding) inferring train travel and swirling black hole states of inebriation. Ben and Max Ringham’s composition and sound design puts the aural icing on the high quality cake.

Very highly anticipated by us and we highly recommend this tense thriller.

Photo credits: Manuel Harlan

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