Thrillers are relatively new territory for me when it comes to theatre. Single White Female earlier this year was probably the closest I’d come, but The Silence of the Lambs at the Lowry Theatre takes things up a considerable notch.
Perhaps even more unusually, I went into this having never seen the film or experienced any version of the story before. Of course, The Silence of the Lambs is such a classic that certain lines, characters and scenes have made their way into popular culture regardless, but beyond that, I was going in almost completely blind.
Adapted from Thomas Harris’ 1988 psychological horror novel, the story is intricate, intelligent and immediately enticing. The writing gives the production an incredibly strong foundation, but translating something so closely associated with film and novel onto a stage is another challenge entirely. This adaptation proves it can be done.
There’s a real attention to detail throughout the production, and an obvious respect for the source material. Even as someone unfamiliar with the full story, I recognised many of its most iconic moments – and their execution feels deliberate rather than included simply for the sake of familiarity.
Perhaps the most impressive element was how cinematic the whole thing feels without trying to disguise the fact that you’re watching theatre. The set itself can appear relatively simple, but clever manipulation of the space, lighting, projections, and screens allows locations to change quickly and convincingly.Â
There’s a precision to it all that makes it incredibly easy to become absorbed. The performances and production design work together so seamlessly that you occasionally forget these are actors performing just metres away, and it feels like you’re watching a film.
Exceptional casting
John Partridge is mesmerising as Hannibal Lecter. It’s particularly unnerving watching this character live. His eyes seem to track everything around him, and when his gaze fixes on a person – whether another character or seemingly somewhere out into the audience – it’s difficult to look away.
What makes the performance more interesting is how relaxed he can appear. It would be very easy to overdramatise this character, but Lecter isn’t always played at maximum intensity. Partridge knows when to pick his moments and even offers flashes of humour throughout, yet there’s always the sense that something more dangerous sits underneath. It’s a complex balance, and he absolutely nails the role.
Opposite Partridge is Mollie Gallagher’s spectacular FBI trainee, Clarice Starling.
Gallagher gives Clarice a strength and determination that never feels forced. She remains composed in situations that would rattle almost anyone, but importantly, that doesn’t mean she appears unaffected by them. Whether through her body language or facial expressions, you can always see what she’s thinking without undermining the strength of the character. She is believable from the outset and makes Clarice an incredibly easy character to root for.
Then there’s Sam Jackson’s deeply unsettling Buffalo Bill. Jackson is difficult to take your eyes off, with a fluidity to his movement and a willingness to completely give himself over to the character that makes the performance uncomfortable in exactly the way it needs to be. At times charming, at others sickening, his Buffalo Bill is genuinely chilling.
That strength continues across the wider cast. Lottie Amor’s Catherine Martin brings some of the night’s most haunting moments, particularly through her shocking screams, while Oliver Farnworth gives Jack Crawford a warmth that sits interestingly alongside the more manipulative elements of the character. There genuinely isn’t a weak link in the cast.
Could it have pushed the fear further?
For a production this tense, my only real criticism is that I actually wanted it to scare me a little more.
There are certainly disturbing moments and the tension rarely disappears, but there were points where it felt like the production could have pushed the horror element further. Whether that comes through unexpected audience interaction, more pronounced jump scares, or simply playing with the unpredictability of live theatre, there seemed to be opportunities to make the audience feel even less comfortable.
That said, perhaps The Silence of the Lambs doesn’t need to rely heavily on conventional scares. Much of its unease comes from its characters, and the atmosphere in the theatre made it clear just how invested the audience was.
Final thoughts
As my first proper experience of The Silence of the Lambs, this is going to be a difficult version to beat.
More than anything, I was struck by the quality of the production. It’s slick and cinematic without losing what makes live theatre exciting, backed by a cast that seems completely in control of every uncomfortable moment.
I might have gone in wanting a few more scares, but I certainly didn’t leave disappointed. For my first real venture into psychological horror on stage, The Silence of the Lambs has set the bar extremely high.
The Silence of the Lambs is running at the Lowry Theatre until 10 October. Book your tickets now.
**Tickets gifted in exchange for an honest review
Kelsey Haslam is the founding editor of Magenta Adventures Travel Publication and a freelance travel writer with a focus on community-based travel, culture-led experiences, and theatre tourism. She is passionate about spotlighting lesser-known destinations and connecting travellers with meaningful, human-centred stories.
Her published work includes destination features and luxury hotel reviews for leading travel outlets such as A Luxury Travel Blog, Beau Monde Traveler, and Luxury Lifestyle Magazine.
Explore more about Kelsey’s background on the About Page.
