Review: Girl on the Train at LOWRY is a’ tour de force in psychological drama’

Paula Hawkins’ psychological thriller novel, The Girl on the Train has hit the stage of LOWRY and the eerie tale will leave a shiver down your spine.

Rachel is an alcoholic, who rides the same train every day, passing by the house where she once lived with her ex-husband, Tom. She becomes fascinated with a couple she sees through the train window and when she finds out the woman has gone missing, she becomes stuck in investigation.

Girl On The Train at LOWRY

As the story unfolds, the lines between truth and illusion blur and you begin to question the reality Rachel lives in.

Hats off to director Loveday Ingram, as this stage version maintains the tension of the novel, with fast-paced scenes, shifting perspectives, and a strong psychological atmosphere.

It explores themes of obsession, betrayal, memory, and identity, with a plot that builds toward a dramatic climax.

The theatre adaptation condenses the twists and complexities of the book while focusing on key character interactions and the gripping mystery at its core.

The Girl on the Train evokes a range of intense emotions in its audience, primarily due to its dark, psychological tone and complex characters. For many, it creates a sense of tension and unease as the narrative unfolds with twists and unreliable perspectives.

“Giovanna Fletcher is devastatingly fantastic as Rachel”

Giovanna Fletcher is devastatingly fantastic in her portrayal of Rachel.  Her erratic behaviour throughout the performance creates an underlying sense of anxiety, keeping the audience on edge. She delivers a dramatic, yet believable, portrayal of a character struggling with alcohol addiction, balancing vulnerability and chaos in a way that draws sympathy.

Despite Rachel’s unpredictable actions, Fletcher’s performance keeps the audience rooting for her, making them feel empathy for the drunken character.

Natalie Dunne as Megan

Natalie Dunne’s performance as Megan is eerily great, bringing a profound depth to the character. Her entrances during the flashback scenes are fascinating as she falls into the moment so effortlessly that it grips the audience’s attention.

The way she transitions from flashbacks back into her disappearing when in present time is seamless, demonstrating her impressive control over the pacing and tone of the scene. She doesn’t simply exit the stage; she pulls herself away from it, marking a powerful shift that draws the audience back into the reality of the moment.

One of the most powerful moments in Dunne’s performance occurs during a baby monologue where her anguish is palpable. Dunne’s delivery is haunting and genuine, allowing the audience to feel the weight of Megan’s emotional turmoil. Dunne’s ability to convey such deep emotion with such nuance is a testament to her skill as an actor, leaving the audience in anguish as she delivers this speech.

Immense lighting design

Jack Knowles’ lighting design becomes a crucial part in the storytelling and immerses the audience in the shifting emotional landscape of the story, emphasising the emotional depth and psychological complexity of the characters while enhancing the tension of the narrative.

The production transitions between the present and flashbacks, with Knowles manipulating the lighting to guide the audience through these changes. In the present moments, he uses a cold, harsh blue tone, evoking a sense of isolation and uncertainty that reflects Rachel’s fractured state of mind.

In contrast, during scenes that delve into the past, Knowles shifts to warmer faded yellow tones with the nostalgic hues creating an intimate, almost dreamlike atmosphere. His use of lighting enhances the mood and mirrors the inner turmoil of the protagonist, Rachel.

Adam Wilshire’s set design is sparse, with the focus remaining on three large screens positioned across a mostly empty stage. The screens serve as key visual elements, displaying projections that enhance the atmosphere and reflect the scattered memories of the characters.

Further back of the stage is a raised square platform, often used to frame particular characters and in one part the square begins to rotate as Rachel begins to walk on each side.

Tickets for Girl On The Train at LOWRY

The show will be at LOWRY between the 11th till the 15th February. You can get tickets by clicking here