★★★☆☆
Psychological horror classic The Silence of the Lambs takes to the stage at The Lowry in Salford this week, as part of its extensive UK and Ireland tour.
It’s surprising that a story as iconic as The Silence of the Lambs hadn’t already been adapted for the stage, with Jonathan Demme’s film adaptation of Thomas Harris’ astonishing novel winning five Academy Awards across the ‘Big Five’ categories in 1992. The question, though, is whether the story’s intensity translates onto the stage as seamlessly as it does on the page or screen.
A tale as old as time. Rookie FBI agent Clarice Starling (Mollie Gallagher) is assigned by senior agent Jack Crawford (Oliver Farnworth) to interview the infamous “Hannibal the Cannibal”. Hannibal Lecter (John Partridge), a psychiatrist turned cannibalistic killer who holds key information about the ongoing murders of young women by serial killer Buffalo Bill (Sam Jackson). Clarice and Hannibal grow closer as she trades personal details for information that could help unravel the case.
Assuredly directed by Nikolai Foster and written by Gina Gionfriddo, in association with Curve Leicester, Indigo Productions and Crossroads Live, The Silence of the Lambs takes on a new, yet familiar, sickening feel. Initially, the show somehow feels more real and, as a result, more terrifying, although this intensity dulls as the show goes on.
With design from Michael Taylor, the stage is framed by Lecter’s cobbled prison corridor, with an upper level allowing the action to take place across multiple levels and giving Buffalo Bill the opportunity to lurk ominously above. This element is especially well considered, making clever use of height throughout the production. Hannibal’s glass cage can sit below as Bill works on his skin suit above him, while Catherine Martin (Lottie Amor), the senator’s daughter captured by Buffalo Bill, can be positioned beneath Bill in the hole in his basement.
Visually, much of the production feels incredibly faithful to the original film, but perhaps too much at times. There’s a sense that they haven’t been quite bold enough with the adaptation; so much of it looks and feels the same without taking full advantage of what bringing the story to the stage could offer. The soundtrack is noticeably lacking; during those crucial first exchanges between Clarice and Hannibal, the frightening, unsettling music present in the original film, which could have heightened these encounters, feels noticeably absent.
Ultimately, it just isn’t scary enough. Even some of the production’s most violent moments struggle to have the impact they should. When Hannibal breaks free and attacks a prison guard, faint blood splatters are projected across the stage after each jab to represent the brutality of the attack. For a moment that should be genuinely terrifying, the effect feels slightly underwhelming, shying away from the horror.
Hannibal Lecter (John Partridge) himself, however, is intensely unsettling. Partridge’s interpretation feels even more overtly like a serial killer than the original, with almost a taste of American Psycho. From the first look, his presence sends a palpable sense of fear through the audience. Gorgeous, controlled and frighteningly precise, there’s something calculated about Partridge’s every movement, every breath. Rather than simply recreating Anthony Hopkins’ iconic performance, this feels like a genuinely new take on Hannibal Lecter.
Likewise, Jame Gumb (Sam Jackson) is incredibly assured, with every movement feeling intentional yet completely natural. Jackson’s portrayal feels almost intoxicated by Gumb’s murderous plans, bringing an unnerving sense of pleasure and obsession to the character. This is coupled with expert lighting design (Howard Hudson) that illuminates his physicality on the level above Clarice and Hannibal, as he catches the glow of the light, pulling focus towards his shape looming above.
Clarice Starling (Mollie Gallagher), on the other hand, feels much closer to a copy of the film. The mannerisms, delivery and even the exaggerated accent seem imitative of Jodie Foster’s performance, without bringing enough new to the character. At points, it feels like a comedic depiction of Foster’s Clarice.
For any fans of the film, novel or simply the psychological horror genre, this adaptation delivers. However, for those looking to see a fresh theatrical take on the classic tale of Hannibal Lecter, it could potentially disappoint, but it’s certainly a spectacle worth experiencing.
