Based on the 2015 book that debuted in the number one spot on the New York Times Fiction Best Sellers list and the 2016 film starring Emily Blunt, a lot of the audience will be no stranger to the psychological thriller, The Girl on the Train. It’s a hard ask of a new play adaptation to maintain that suspense and climax when, let’s face it, a lot of the audience probably already know the ending! The stage version, which debuted in May 2018 at Yorkshire Playhouse, is adapted by Rachel Wagstaff and Duncan Abel and is a feat to fit this 320 page turner into a just 2 hour play without losing any of the grit or drama and without leaving the audience totally in the dark. I’m pleased to report that this adaptation ably pays homage to its source material whilst also being its own, worthy, entity.
The stage is very bare, but reminiscent of Rachel’s mind itself; the blank spaces representative of the blackouts and gaps in our lead character’s own memory. The starkness of the stage aided rather than detracted from the action; with no massive set pieces to distract, the action entirely centres on the cast and ensemble’s actions and speech and you find yourself on the edge of your seat to catch every word. I also loved the projection screens at the back of the stage, cleverly adapted and used to create Rachel’s train journeys, the rain pouring down the windows of the flat, Megan’s artwork and more. The use of lighting was also effective, with train tracks appearing down the rake of the stage and characters disappearing and reappearing into floods of light. It reminded me again of our unreliable narrator, struggling to see clearly through the haze of her memory.
Director, Loveday Ingram, ably brings the piece to life and I especially loved the scenes with flashbacks where missing woman, Megan Hipwell, reappears and helps us to piece together what she was like. I enjoyed the forays into the past as Rachel watches on, living through the parts of Megan’s life that may have, until now, remained hidden. It helped the audience to really see Megan as a living, breathing person, not just a statistic and the direction of these segways really helped; Rachel shrinking back to the shadows as the main action shifted backwards. I also loved the use of ensemble throughout the piece; the train coming to life with commuters or party goers without so much as a set change, all kudos to the direction and movement of the play.
Louisa Lytton, leads an excellent cast, having taken over the role from Giovanna Fletcher on 15th April. Probably best known for her time in Eastenders, she’s also no stranger to psychological thrillers onstage, having recently played Jenny in 2:22 A Ghost Story on its nationwide tour. Louisa brings Rachel to life with ease, the unreliable narrator of the piece, the girl who has created a whole life for the woman she sees on her train journey every day. She never descends to pastiche, creating a real, 3D Rachel Watson who is undeniably flawed but whom the audience still roots for. Her ability to really draw the audience into Rachel’s plight to help find Megan’s killer is really enthralling to watch and her journey is one I became thoroughly invested in throughout the 2-hour run time.
Natalie Dunne as Megan Hipwell brings real depth to Megan Hipwell, the missing woman made flesh through her performances in the flashbacks. Her anguish and fears are palpable, particularly in her scenes with psychologist Kamal Abdic. Zena Carswell plays Anna Watson, the woman who has usurped Rachel’s marriage. I enjoyed the way Zena so ably showed us Anna’s descent, so eerily like, so we find out, the way Rachel has fallen.
Daniel Burke as psychologist, Kamal has a wonderful resonance of voice which gives the character a real gravitas. His scenes with Zena’s Megan Hipwell are particularly poignant, as the character struggles with the line blurring between professional and lover. Samuel Collings shows us the grief and anger of Scott Hipwell as he navigates first the missing and then the murder of his wife. Some great light and shader here with Samuel cleverly flipping between misery and aggression. Jason Merrells also deftly shows us every side of Tom Watson, adoring husband, concerned ex-partner and more as the plot develops. A very convincing performance. Finally, I thoroughly enjoyed D.I. Gaskell, brought to the stage by Paul McEwan. A believable detective, with moments of lightness and humour delivered with skill to break the tension inevitably created by a piece such as this. All in all, a talented and able cast and ensemble who were a delight to watch.
Whether you’ve read the novel, seen the film, or go in completely blind, this production of The Girl in the Room will keep you guessing, gasping and on the literal edge of your seat. I went in without any knowledge of the plot and the reveal was delivered with a poise that kept me wondering right up until the end. The plot is drip fed to the audience and leaves us breathless with anticipation. If you’re a fan or totally new to the story, the ‘thriller that gripped the world’ will go on thrilling, and gripping, every audience member that dares to embark on Rachel Watson’s journey.