Katie Barr
The Theatre Royal was abuzz last night with the much-anticipated staging of The Girl on the Train, a gripping adaptation of Paula Hawkins’ best-selling novel. From start to finish, the production delivered a masterful blend of suspense, emotion, and intrigue, making it a truly unforgettable experience. Helmed by a stellar cast and boasting a well-crafted script, this play immersed the audience in the tumultuous life of Rachel Watson and the twisting, turning mystery, she becomes entangled in.
Giovanna Fletcher, known to many as the 2020 I’m A Celebrity … Get Me Out of Here winner, delivered an extraordinary performance as Rachel Watson. Her portrayal of a woman grappling with loss, addiction, and an unrelenting obsession with a life she cannot have was deeply moving and utterly convincing. Fletcher’s ability to convey Rachel’s vulnerability, desperation, and eventful resolve brought depth and humanity to a complex character.
Fletcher captivated the audience, drawing us into Rachel’s world of self-doubt and longing
From the very first scene, Fletcher captivated the audience, drawing us into Rachel’s world of self-doubt and longing. The nuances of her performance – shaky hands, hesitant glances, and a voice that cracked with emotion – lent an authenticity that made Rachel’s struggles painfully real. Yet, as the mystery unfolded, Fletcher also captured Rachel’s determination and resourcefulness, making her a heroine to root for despite her flaws.
Merrells walked a delicate line between charm and menace, capturing the essence of a man whose affability masks a darker core.
Jason Merrells, who took the role of Tom Watson, was an absolute standout. For me, seeing Merrells on stage was a delightful blast from the past – I fondly remember his incredible performances in Waterloo Road years ago. It was thrilling to see him in such a different context yet still commanding the stage with his signature charisma and depth. In this production, Merrells walked a delicate line between charm and menace, capturing the essence of a man whose affability masks a darker core. His scenes were electrifying, particularly those opposite Giovanna Fletcher, where the tension between their characters cracked palpably. Watching Merrells masterfully weave Tom’s duplicity into the narrative was a true highlight of the evening and a reminder of his enduring talent.
The supporting cast bought their A-game, each actor full inhabiting their role to create a richly textured world. Natalie Dunne as Megan Hipwell exuded charisma and vulnerability, making her disappearance all the more haunting. Dunne’s chemistry with Samuel Collings as Scott Hipwell was palpable, portraying a couple whose outward perfection masked deeper turmoil. Collings, as the grieving and incredibly suspicious husband, delivered a powerhouse performance. His portrayal of Scott’s emotional unravelling added layers of complexity to the story, keeping the audience on edge as they questioned his motives and actions.
Zena Carswell as Anna Watson brought a sharp edge to her role, balancing disdain for Rachel with her own insecurities in a way that was both believable and engaging. Paul McEwan’s DI Gaskill provided a steady, grounded presence amidst the chaos, while Daniel Burke as Kamal Abdic brought an enigmatic quality to his role that added to the play’s suspense.
Flickering lights, sharp sound cues, and an evocative musical score heightened the drama that kept the audience on edge.
The production design was nothing short of spectacular. The stage was cleverly designed to evoke the eerie and transient feel of a train journey, with moving projections and shifting set pieces that transported the audience seamlessly between Rachel’s small apartment, the bustling train, and the Hipwell’s picturesque home. The lighting and sound design were integral in creating the tense and foreboding atmosphere. Flickering lights, sharp sound cues, and an evocative musical score heightened the drama that kept the audience on edge. Particularly memorable was the use of train sounds and visuals, which became a recurring motif that mirrored Rachel’s mental state – at times overwhelming, at others soothing, but always present.
One of the play’s greatest strengths was its ability to remain faithful to Paula Hawkins’ novel while also bringing something fresh to the stage. The adaption skilfully condensed the story, maintaining its intricate twists and turns without sacrificing clarity or emotional impact. The dialogue was sharp and impactful, capturing the essence of the characters and their fraught relationships. The pacing was expertly handled, with moments of quiet reflection interspersed with bursts of high-stakes drama. The tension built steadily throughout the evening, culminating in a jaw-dropping climax that left the audience gasping.
The Girl on the Train is more than just a thriller – it’s a poignant exploration of loss, obsession and the lies we tell ourselves and others.
The Girl on the Train is more than just a thriller – it’s a poignant exploration of loss, obsession and the lies we tell ourselves and others. Last night’s performance at the Royal Theatre captured all this and more, delivering a theatrical experience that was as thought-provoking as it was entertaining. Giovanna Fletcher’s star power was undeniable, but this was far from a one woman show. The entire cast and creative team came together to create a production that was cohesive, compelling, and utterly captivating.
For fans of Paula Hawkins’ novel or newcomers to the story, this production is an absolute must-see. And for those, like me, who delighted in seeing favourites such as Jason Merrells and the rest of this talented cast take the stage, it was an added bonus to witness their collective brilliance in roles that will stick with me long after the curtain closed. Bravo to everyone involved for a night of pure theatrical magic!
Katie Barr
Featured image courtesy of Alex Watkin. Permission to use granted to Impact. No changes were made to this image.
In-article images courtesy of @thegirlonthetraintour via Instagram. No changes were made to these images.
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