The Silence of the Lambs stage play at Curve and on tour – review

Often cited as the definitive horror film of the 1990s, The Silence of the Lambs proved a global phenomenon. I clearly remember being petrified, and admit to initial scepticism on whether Gina Gionfriddo’s adaptation of Thomas Harris’ novel could deliver the same level of fear, danger, and horror.

Clarice Starling (Mollie Gallagher), a young FBI agent, is charged with finding “Buffalo Bill” (Sam Jackson), who has been slaughtering, then flaying his young female victims. In an attempt at criminal profiling, Starling begins to visit the incarcerated (and infamous) serial killer Dr Hannibal Lecter (John Partridge). Will she be able to gain valuable new insights into Bill’s psyche, or will she fall foul of Lecter’s mind games?

Starling is warned about Lecter by her boss, Agent Jack Crawford (the ever-reliable Oliver Farnworth). Lecter is highly intelligent, charismatic, and persuasive; yet he is also a cannibal and a master of manipulation. Partridge is a superlative Lecter. He excels at this complexity of character needed to make the audience forget any previous iterations. The amorality is always present, but he charms us as much as he does Starling. Partridge’s strong physical presence, timing and magnetism both attract and repel, which is exactly what Lecter should do. His performance never descends into caricature, but is nuanced and fresh. This is a hugely impressive portrayal.

Gallagher’s role suffers in comparison. She appears with a similar hairstyle, mannerisms and facial expressions to Jodie Foster’s film version of Starling. This does her no favours as it makes her performance seem an impression. The excessive use of hand gestures and an affected walk somewhat distract from a committed and spirited turn.

Meanwhile, Jackson as Buffalo Bill has a boyish, vulnerable quality, coupled with a creepiness that is deeply unnerving. He is given excellent support by Lottie Amor, who plays the dual role of victims Fredrica Bimmel and Catherine Martin.

Set design is a triumph and a star in its own right. Towering stone walls, multiple doorways hinting at hidden horrors, and a stairway to a rusty bridge afford a flexibility and visual interest that is enhanced by excellent use of lighting and video design. Lecter’s “cell” is really a glass cage, giving the requisite intimacy to his exchanges with Starling. It glides seamlessly across the stage and has an accessible top level, meaning we can watch both Buffalo Bill and Lecter simultaneously go about their business. It proves useful in tying both strands of the plot together.

There are thrills and chills aplenty in The Silence of the Lambs. Director Nikolai Foster’s avowed intention was to pick a popular title that would “get bums on seats.” I believe he may just have hit the mark.