26 September – 29 October
A dark, haunting and powerful psychological thriller
Fans of taut, psychological drama, and of British writer Paula Hawkins’ 2015 novel in particular, will surely love Rachel Wagstaff and Duncan Abel’s clever adaptation of The Girl on the Train.
After the disappointing decision to transfer the setting of the story to New York for the 2016 film adaptation, the play’s British setting feels much more familiar and appropriate for the novel, and whereas Emily Blunt’s outstanding performance failed to lift the film above mediocre, this production is a triumph from slick start to dramatic finish, with strong performances from the entire cast.
Gemma Yates-Round excels as the flawed Rachel, an eponymous heroine who, in trying to solve the unfolding mystery of the disappearance of her ‘friend’ Megan (also brilliantly played by Sophie Walter), must also piece together the fragments of her own fractured and dysfunctional life. Right from the opening scene, there is a palpable sense of tension and intrigue as we embark on an emotional rollercoaster ride, heightened only by The Barn’s intimate setting which draws every member of the audience into the visceral and violent drama which unfolds. Rachel’s quest to discover the truth about Megan ultimately becomes a journey into her own self too; the strength of both the novel, and this adaptation, lies in how themes of memory, loss, addiction, modern relationships and motherhood are explored with such unflinching power and intensity. Both the novel and the film offer three female narrative perspectives, yet this adaptation is undoubtedly Rachel’s narrative – she never leaves the stage throughout the duration of the play – and Yates-Round’s performance is utterly compelling in her portrayal of the troubled heroine.
The dark and moody tone of the play is maintained through clever set design, excellent sound and lighting effects, and a haunting score. The ominous underpass is central to both the narrative and Rachel’s memory, whereas slick scene transitions and clever use of props ensure the fast pace never slackens as we watch with bated breath. The whole production has a cinematic feel, whilst at the same time being firmly rooted in the human drama as gradually more and more of the truth about Megan, and indeed Rachel, comes to light.
This is a clever, moody and highly effective noirish thriller, and yet there is more than a fair share of humour too for a play with such dark and menacing themes. The lighter moments sit comfortably within, and yet do not undermine, the more serious scenes – this is quite an achievement. The violence and language are shocking at times, yet reflect the intended audience; this is, after all, a play which explores adult themes. But it does so with sass, style and skill. Strap yourself in for director Kirstie Davis’ thrilling production, and enjoy the ride.
★★★★☆ Tony Clarke 28th September
Photo credit: Benjamin Collins
