REVIEW - The Silence of the Lambs is full of suspense, shock, and psychological shivers!

We were invited to Lowry in Salford to see The Silence of the Lambs. Read what our reviewer Karen Ryder had to say about this incredible production...

When the Oscar winning film Silence Of The Lambs first came out in 1991, I was a few years too young to watch it and so had the added anticipation of waiting to be a part of this phenomenon.  And let’s face it, anticipation is where fear does its finest work!  Fast forward to this world premiere stage production tour by Leicester Curve and perhaps I’m still too psychologically young to not have the bejesus sucked out of me inch by terrifying inch!  I’ve only seen the film once and so my memories of the details are hazy, but the feelings and reactions it evoked are not!  It’s disturbing!  But it is also brilliant!  This may not be a carbon copy of the film, and call me sarcastic, but maybe, just maybe, that’s because it’s not the film!  So, this revelation is not something to dissuade me at all.  Far from it!  I encourage it to find its own feet within its new art form, leaning into the quiet, unsettling psychology of the characters and trusting that the story’s power doesn’t depend on graphic elements to land.  It chooses tension over spectacle and suggestion over gore.  Though believe me, there is still enough gore to make the likes of me hide behind my coat and actually wince out loud a couple of times!  Gina Gionfriddo has adapted this modern classic for stage with intriguing dedication to connections, relationships, and character development, bringing out elements that the film flirted with but never committed to, especially the charged dynamic between Clarice and Lecter.  Silence Of The Lambs on stage challenges audiences to think again on a story they thought they knew, to re-evaluate characters they thought they had sussed out, and it’s a shock to the system for many.  It forces us to ask the age old question – just how well do you truly know someone?  So, all I can say is, if you think you’d sussed out a calm, cool, collected killer like Hannibal Lecter, more fool you!    

Of course, Silence of the Lambs tells the story of how convicted killer, cannibal, and psychologist, Dr Hannibal Lecter, and FBI trainee Clarice Starling need each other for their own personal gain.  Clarice is sent to interview Lecter under the guise of routine questioning, when really, it is in connection with another case.  The Bureau are hoping Lecter’s razor‑sharp psychological insight will help them track down another serial killer known as Buffalo Bill.  But therein lies their mistake, for their ego allows them to believe they can outsmart a psychological genius.  Lecter immediately spots the real agenda, leaving Clarice exposed, vulnerable, and of delicious intrigue to him.  What begins as a simple interview quickly becomes a psychological chess match, with Clarice trading pieces of her past in exchange for Lecter’s insight into the mind of Buffalo Bill.  They forge a tense, unsettling dynamic, exposing each other’s weaknesses and vulnerabilities.  Clarice’s honesty becomes the currency Lecter demands, creating an inexplicable spark between them, and as memories of her past become intertwined in her present, the stakes become even more dangerous.  Meanwhile, Catherine Martin’s kidnapping becomes the urgent heartbeat of the entire investigation.  Her fight for survival propels Clarice deeper into Buffalo Bill’s world and exposes her to Lecter’s game.  As in the original book, this stage adaptation leans further into Buffalo Bill’s motivations, giving us a clearer sense of who he is and why he kills.  The investigation culminates in the tense confrontation that defines the story.

As a Mancunian, seeing locals John Partridge and Mollie Gallagher leading a world premiere stage adaptation of a multi-Oscar winning film, feels significantly brilliant!  And they absolutely rise to it!  John Partridge (Eastenders, Everybody’s Talking About Jamie, Cabaret, Celebrity MasterChef winner) is eerily controlled one moment, yet fizzes with an explosive threat simmering underneath the next.  It makes his performance compelling, hypnotic, and is it weird to say when he’s playing Lecter - magnetic?  To take on such an iconic role, one that is so deeply embedded in the public psyche through Anthony Hopkins’ portrayal, and make it entirely his own, is testament to how fully he has embodied the character.  He reshapes and remoulds Lecter to fit this new production with zero imitation.  I found the unpredictable outbursts genuinely threatening and quite frankly terrifying, keeping me on edge with this volatile force of nature.  It leaves you questioning whether Lecter truly feels these sudden explosive emotions or whether every outburst is a carefully calculated ploy, designed to keep everyone guessing.  This is an outstanding performance.  Mollie Gallagher (Coronation Street) has found a new home on the stage!  She is engaging, determined, and committed to this huge role, giving us a multi-layered Clarice that once again, is her own.  Her accent is sublime, oozing both intellect and charm.  Her scenes with Lecter whisk up a heady mix of stubbornness and vulnerability, and she allows Clarice to be a worthy competitor to Lecter’s game plan.  This is a thoughtful performance that bounces straight off the stage and into our hearts.  It hard to explain, but it isn’t reserved just for the actors on stage, instead the audience get to share in Clarice too.  Gallagher’s performance makes us invest in and care for Clarice, whilst maintaining the highest level of respect for her capabilities at the same time.  Another outstanding performance.

Sam Jackson (The Legend Of Sleepy Hollow, Beautiful Thing, Kes, Father Brown, Holby) as Buffalo Bill is given much more scope than the film adaptation, making this a captivating performance.  His demeanour continually fluctuates between a lost and confused child, his own sense of guilt and loss, whilst simultaneously operating with a misplaced naivety and unsettling danger.  Jackson brings us a derailed character that we both detest and empathise with, confusing our emotions, making us perfect prey to his trajectory.  Oliver Farnworth (Emmerdale, Coronation Street, 42^nd Street, Fatal Attraction, The Girl On The Train) as Jack Crawford is a wonderful mix of stoicism, compartmentalisation, and suppressed emotion.  His frustrations are reaching boiling point, and his true motives keep us guessing throughout.  He never gives his full self away so we are hooked as to whether his intentions towards Clarice are supportive, or to further his own career.  Does he have feelings for her or is he using her?  The ambiguity is perfect for his character who gives little to nothing away about his personal life.  Lottie Amor (Macbeth, The Hand Of Sarah Nelmes, Babies) really grabs your attention and your heartstrings as Catherine Martin.  Fear drips off her in equal measures to her wit, strength and sass.  Despite what appears to be the inevitable, she keeps an admirable spirit of resilience and even manages to bring a feisty humour to the role.  It keeps her surreal predicament truthful and makes you wonder how you would respond if found in her situation.

The set, designed by Michael Taylor, is an expertly ensembled puzzle that offers simplicity through complexity, making it the perfect head mess for this psychological thriller.  The architecture is so clever, allowing several locations to exist at the same time, whilst maintaining separation.  It really is something to behold.  Lecter’s cell or cage has multiple uses, from Lecter’s cage to creating a platform for Buffalo Bill’s apartment.  In fact, the entire set is multi-layered and continually repurposed in ingenious ways, allowing several scene and locations to exist at the same time, and its sheer size and scope is so impressive it really does become a huge part of the storytelling.  Lighting by Howard Hudson and sound by Carolyn Downing expertly manipulate our senses for psychological gain.  The lighting whisks us from one location to the next with ease, whilst equally commanding atmosphere and intent.  I was concerned that, through no fault of the actors, clarity of speech would be lost from Lecter who has to be heard through a glass wall, but this was not the case at all due to excellent sound control, which also proved to impact our emotional demeanour.  Projections helped with this too as did the incidental music, composed by Grant Olding, which also mirrored a cheeky nod to the 1990’s film.  The whole creative team, work in harmony to create moments of focus, atmosphere, and the stuff of psychological nightmares!

So long as you’re not expecting a carbon copy of the film, you won’t be disappointed with Silence Of The Lambs.  Director Nikolai Foster has been brave enough to stand by the writer’s vision and encapsulate a familiar story through fresh eyes, truly looking at the interplay between the characters and devoting plenty of scope to develop their stories even further.  The storytelling is compelling, the visuals stunning, and the psychology both fascinating and unnerving.  With moments to pull you in pitted against moments that make you recoil, the show flies by!  Lecter’s escape scene is beautifully gruesome, and everything comes together to create a spectacular moment.  It’s a disturbing moment, but it is a moment that will stay with you.  The whole ensemble, many of whom multi-role, are slick, well placed, precise, and keep you on the edge of your seat, pulling you further into their world.  This makes the snap backs even more powerful too, for you have no idea just how deep you have gone!  This is a unique, fresh, and inventive production of perhaps one of the best psychological thrillers ever written.  Even if you know the story, Silence Of The Lambs is full of suspense, shock, and psychological shivers!  So, grab yourself a nice chianti, sleep with the lights on, and maybe avoid dinner invitations for a few weeks! 

WE SCORE THE SILENCE OF THE LAMBS...

Watch our "In Conversation with John Partridge" video, discussing the show

The Silence of the Lambs is on at Lowry, Salford on until Sat 10 October 2026.

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