The Silence of the Lambs - Milton Keynes Theatre Review

Review by Amelia
Tickets were gifted in return for an honest review

From the big screen to the stage, The Silence of the Lambs makes its world stage premiere this year, bringing Thomas Harris’ iconic psychological thriller to theatres across the UK and Ireland. Written for the stage by Gina Gionfriddo and directed by Nikolai Foster, the production opened at Curve Leicester on 1 August before embarking on its major tour and is currently playing in Milton Keynes. 

John Partridge (Hannibal Lecter) and Mollie Gallagher (Clarice Starling). Photo by Marc Brenner 

The story follows an FBI behavioural analyst in training as she strangely befriends ‘Hannibal the Cannibal’ and attempts to solve the case of Buffalo Bill. The film is an absolute classic, taking a multitude of awards and recognition, especially for its cast. Writer Gina Gionfriddo is coming off the back of success with Becky Shaw, and she does not let up in this script. It packs a punch and makes the piece its own, whilst still holding onto everything that makes the original story so iconic.

John Partridge faces what some may call an impossible feat with the previous tenant of Dr Hannibal Lecter. Anthony Hopkins left behind an incredible legacy in not just the original film, but the two sequels that followed. I must confess I am also a massive fan of the TV series starring Mads Mikkelsen, which is another important portrayal of the character. Interestingly, Partridge does his own thing with the material, which I utterly admire. Of course, there are similarities, but I never find myself cringing at an imitation. Instead, I am hook, line and sinker for what he brings to this complex character. Nikolai Foster seems to bring out the very best in his direction and I’d love to know how much of a collaboration the final product is, but regardless, it’s brilliant.

With around only 20% of the original featuring the iconic character, it feels as if Lecter has more presence in this piece, which is completely welcomed. He also leaves such an impact each time he appears that it’s hard to tell if we just feel him at all times, even when he’s not there. There is something incredibly compelling about this version of Lecter, and Partridge completely sinks his teeth into it.

Molly Gallagher as Clarice offers a more truthful depiction of her source material, having mastered the voice of Starling incredibly well. She has the strength that is so integral to the character, but also does her bit to make it her own. She brings a calmness to the story which intertwines well with the calm but uncertainty of Lecter. She shows a lot of tenacity and determination, which makes her a great heroine, especially with the constant reminder that, as a woman, she shouldn’t really be this good at her very manly job.

Mollie Gallagher as Clarice. Photo by Marc Brenner.

A tale that still stands today, this part of the story hits home no matter the time period and is a reminder to keep going despite judgement. Who knew a good bit of philosophy could come from a thriller play!
Buffalo Bill is played by Sam Jackson and, again, this interpretation is a stand-alone from the film, which I really like. We spend what seems like a lot more time with him than we’ve experienced before, which is a helpful look into his psyche. He is equal parts kind of friendly-looking as he is menacing, and so it’s easy to see how he finds his victims. I like that he haunts the stage at some points and, even though we know the killer that everyone is so desperately looking for, we are still gripped into going along the journey.

Nikolai Foster strikes again with some really impressive direction. The story makes sense even if you have no prior knowledge of the material and it’s done with absolute conviction and precision. The set from Michael Taylor is also equally important, multitasking as many different environments while maintaining distinct locations with ease. The levels and detail are wonderful and work so well to give off such a haunting vibe. The costume design is true to the time and fits well with the overall aesthetic of the piece.

I have to commend the lighting by Howard Hudson as well; some gorgeous projections and thematic lighting are used throughout. There’s a very clever use of music throughout to underscore what’s happening. The score seems to have been thought through immensely and has a strong impact on the flow of the piece. There are a couple of jump scares to shock us but, ultimately, the piece does not rely on typical horror tropes to keep the audience engaged — the cast and creative team do that all by themselves.

The ending was ever so slightly underwhelming, but I can see how they had to pull everything together and they can’t exactly end on the climax of finding Catherine, so I do understand. They also omitted my favourite line of Hannibal’s, which is the final one he says in the film, but that’s okay. I don’t think it would have made sense anyway and we can’t have it all!

Overall, this is a thrilling and incredibly atmospheric adaptation that manages to honour its source material without simply trying to recreate it. With some brilliant performances, particularly from Partridge, Gallagher and Jackson, and a creative team that clearly understands how to make this world feel both familiar and completely fresh, it’s a gripping night at the theatre.

⭐⭐⭐⭐

Silence of the Lambs plays at Milton Keynes Theatre until the end of this week, and the tour ends next June in Sunderland. Don’t let this one slip through your fingers, Clarice…get your tickets! https://silenceofthelambsplay.com/

Photo by Marc Brenner.