“Exciting and gruesome […] will leave you gasping for breath”
Based on the book by Thomas Harris and adapted for the stage by Gina Gionfriddo, “The Silence of the Lambs” sees FBI trainee Clarice Starling (Mollie Gallagher) tasked with solving a growing list of gruesome murders – those of so-called ‘Buffalo Bill’ (Sam Jackson), named after the fact that his victims are often found skinned like a buffalo. Starling’s only hope of making any headway in the case is to enlist the help of Hannibal “the cannibal” Lecter (John Partridge), currently held in solitary confinement in a high security prison. What follows is a tense face-off between Starling and Lecter, a battle of wits as each tries to maintain the upper hand. Under the direction of Nikolai Foster, these fierce confrontations are gripping and easily the highlight of this production, with Gallagher and Partridge both at the top of their game.
The set-up is fast-paced and the plot quickly kicks into gear. Michael Taylor’s design sees newspaper articles displayed in a vast projection as the audience enter, setting the scene with various headlines describing Buffalo Bill’s latest kills. It means we don’t need to trudge through too much set-up to get to the meat of the plot – that is, Clarice’s first meeting with the infamous mass murderer. The set is made up of a corridor of doors, which become prison cells with various members of the ensemble reaching out to Clarice as she makes her way to meet with Lecter, shouting out obscene remarks, spitting at her and covering her with other bodily fluids. It is incredibly disconcerting – but the audience are more than aware that the worst is yet to come.
Partridge is revealed inside a glass box, Howard Hudson’s lighting design bright and sterile, the clinical environment adding to the unease. Partridge’s performance is one of utmost precision, often very still but occasionally making sharp, sudden movements that are enough to give the enraptured audience a shock. Carolyn Downing’s sound design adds an echo affect to Partridge’s voice when he makes these sudden outbursts, banging on the glass in an attempt to intimidate Clarice. It works – we feel every inch of Clarice’s fear, thanks to a phenomenal stage debut from Gallagher, who takes the character on a hell of a journey, one of initial fear and disgust that slowly becomes ever more trusting of the serial killer. The growing rapport between the two is mirrored by the staging, which sees Gallagher getting closer and closer to Lecter’s cell, growing in confidence as she starts to believe (rightly or wrongly) that she is in control.
Lecter and Starling’s relationship is mirrored by that of Jackson’s Buffalo Bill and his next victim Catherine (Lottie Amor), who he keeps locked up for several days before planning to execute her. This allows us some insight into Bill’s past, and we learn more about his motivations and warped ideology. This is all accompanied by some excellent video design, with projections showing old recordings of family members that Bill watches whilst trying to drown out Catherine’s screams. There is something oddly childlike in Jackson’s portrayal at times, and he makes for a fascinating character study, whilst Amor’s Catherine is little more than your standard damsel-in-distress, who is mainly characterised by lots of swearing and who we never quite become properly invested in.
This production leans more into psychological horror than outright jump scares. The interrogations between Lecter and Starling are a perfect tennis match, and you will be holding your breath as Starling begins to divulge more and more personal information to the prisoner. When the play becomes more action-packed, it is a little hit-and-miss. A scene in the second act involving ensemble cast member Andrew Joshi is perhaps the most exciting and gruesome, complete with some excellent squelchy sound effects that are enough to make you wince, whilst the final showdown against Buffalo Bill leaves a little to be desired, becoming a standard shoot-out that isn’t in keeping with the rest of the carefully constructed character-led piece. When Clarice and mentor Jack Crawford (Oliver Farnworth) go to an autopsy for one of Buffalo Bill’s victims, there is the inclusion of a rather gory prop, but this is your classic case of “less is more” – the dead body is so brightly lit that it is obviously fake, and one cannot help but feel that keeping some of it hidden by cloths or shadows would increase the tension here.
This is a thrilling evening of theatre, and one cannot doubt the sheer acting talent on display here. The entire cast is a tour-de-force, with no weak link in sight, and there are moments that will leave you gasping for breath. It is a joy to see such variety on our stages – to have something as dark and disturbing as “The Silence of the Lambs” touring the UK goes to show that there is theatre for everyone, and this will appeal to an entirely new demographic compared with Nottingham Theatre Royal’s recent musical offerings. Whether you’re a fan of the film, a fan of the book or completely new to Thomas Harris’s violent creation, this is a play that will have you on the edge of your seat, and double checking that you’ve locked the door behind you when you get home.
Tom Morley, September 2026
Review Round-up:
WhatsOnStage: The Silence of the Lambs – 5* from WoS, who commend Partridge’s performance, saying his “strong physical presence, timing and magnetism both attract and repel, which is exactly what Lecter should do. His performance never descends into caricature, but is nuanced and fresh.”#
JackStage: The Silence of the Lambs – 4* from Jack Davey, who is particularly enthusiastic over the expanded backstory for Buffalo Bill, saying that the show’s “most surprising turn is placing Buffalo Bill into the spotlight, with his backstory pivoting the action in a thrilling way”
LisaInTheTheatre: The Silence of the Lambs – And finally, 4* from Lisa in the Theatre, who says this is “a deliciously dark, psychological thriller that delivers a memorable theatrical experience and a masterclass in stage design”
Broken Legs Blog 