The Silence of the Lambs

★★★☆☆     Solid

Festival Theatre: Tue 8 – Sat 12 Sept 2026
Review by Hugh Simpson

The Silence of the Lambs at the Festival Theatre is a touring thriller that goes over familiar ground in a way that is gripping but not always entirely convincing.

The story must be well-known to many – FBI trainee Clarice Starling is sent to interview incarcerated serial killer and cannibal Dr Hannibal Lecter with a view to finding information about ‘Buffalo Bill’, who is abducting, murdering and flaying young women.

Oliver Farnworth (Jack Crawford) and Mollie Gallagher (Clarice Starling). Pic: Marc Brenner.

Gina Gionfriddo’s adaptation is based on the original novel by Thomas Harris rather than the celebrated film, for which this version, produced by Indigo and Crossroads Live in association the Curve, does not have the rights. This has the unfortunate result of demonstrating just how many of the most memorable lines associated with the story actually originated in the movie.

This adaptation does give more emphasis to the serial killer Buffalo Bill (although the new explanation for his motives, sidestepping the decidedly problematic nature of the original justification, does not convince).

atmospheric and taut

It’s about as far from a whodunnit as you could imagine. Even if you’re not familiar with the narrative you know pretty much all the way through who the killer is, and it’s just a matter of finding out if he is going to be caught.

On the whole, this version works pretty well. There are some issues with the pacing, particularly towards the end, but it’s atmospheric and taut, doesn’t rely on jump scares, and is properly gruesome without going completely over the top.

John Partridge (Lecter) and Mollie Gallagher. Pic: Marc Brenner.

Whether the adaptation stands as a memorable work in its own right is another question. There are some moments of psychological tension, but it never quite coheres as drama. At least it isn’t a jukebox musical (although those of us whose biggest shock seeing the original film was discovering that the climactic scene was underscored by the Fall’s Hip Priest might be intrigued by such a possibility).

Nikolai Foster’s direction is sympathetic, and allows for psychological exploration of the characters. Mollie Gallagher, familiar from Coronation Street but making her professional stage debut, is very impressive as Clarice, providing both poise and vulnerability. John Partridge is commanding and suitably horribly charming as Lecter, while Sam Jackson’s Buffalo Bill is nuanced and cleverly portrayed.

considerable complexity

One of the most interesting things about the adaptation is the amount of time spent establishing the characters of Bill’s victims; Lottie Amor plays two of them with considerable complexity. Oliver Farnworth gives Clarice’s boss a brittle uprightness.

The large supporting ensemble all discharge their various roles with diligence and skill, but the parade of different characters can crowd the stage at times, suggesting a desire to give the story more of a cinematic sweep rather than a theatrical focus.

Oliver Farnworth, Mollie Gallagher and Andrew Joshi with Sam Jackson. Pic Marc Brenner.

A similar issue arises with Michael Taylor’s set design. Its complex sturdiness is striking and leads to remarkably swift scene changes, but this only reinforces the feeling that the structure is more like a movie than a play.

Howard Hudson’s lighting is starkly atmospheric, while Carolyn Downing’s sound design is imposing. Too imposing at times, as the literal fanfare at Lecter’s first entrance is intrusive, while the electronic hum that is heard before the performance and during the interval takes only a few seconds to make the journey from ominous to annoying.

There’s an opposite and bigger problem during the (rushed) denouement. There are a couple of moments that depend on sound effects, which here are far less assertive than previously. There’s one particularly vital moment that anyone unfamiliar with the story might be forgiven for missing entirely.

Which is really the main problem with a solid but unspectacular production; ultimately, it’s aimed at those who are already fans, and never really forges its own identity.

Running time: Two hours and 20 minutes (including one interval)
Festival Theatre, 13/29 Nicholson Street, EH8 9FT
Tuesday 8 – Saturday 12 September 2026
Daily at 7.30 pm; Matinees Thurs, Sat 2.30 pm
Tickets and details: Book here.

Sam Jackson in The Silence of the Lambs. Pic: Marc Brenner.

ENDS

Tags: Carolyn Downing, Festival Theatre, Gina Gionfriddo, Howard Hudson, Hugh Simpson, John Partridge, Lottie Amor, Michael Taylor, Mollie Gallagher, Nikolai Foster, Oliver Farnworth, Review, Sam Jackson, The Silence of the Lambs, Theatre, Thomas Harris