“A moody psychological thriller based on the bestseller, elevated by immersive staging and atmosphere.”
Having read the novel and seen the film a long time ago, I entered the theatre with only a vague memory of the plot. I knew there was a twist but couldn’t recall what it was exactly, which felt like an ideal way to approach a mystery play. Though not directly comparable, if you enjoyed 2:22, this production might also appeal to you. Set in a British city and driven by the mystery’s tension, it delivers a similar dramatic unease.
The production’s greatest strength lies in its dynamic set design. Clever use of lighting and sound created a brooding, rain-soaked atmosphere that reflected Rachel’s troubled inner world. The backdrop of continuous rainfall added to the mood and helped anchor scenes visually. Rather than feeling abstract, the scenes of the train were surprisingly immersive. The final scenes ramped up the suspense, and I found myself invested in who would survive the climax.
Louisa Lytton as Rachel gave a committed performance, but at times the script made it hard to fully empathise with her. The character’s unreliability, due to both memory lapses and alcohol use, was central to the mystery but something which I found frustrating. The ‘whodunnit’ element repeatedly hinged on Rachel recalling the events of a single night, which began to feel overly repetitive. Her memories would shift or prove confused, and while that may be realistic, it limited the audience’s ability to piece together clues, as so much rested on information that wasn’t available until Rachel could recall it.
There were also moments of confusion in tone. Occasionally, lines received unexpected laughter from the audience. Yet the cast continued without pausing for laughs, leaving me unsure whether these moments were intentionally humorous or not. The smoke machine was overused and towards the end, it became excessive. At one point, the smoke obscured the stage and even spilled into the audience area, creating a distracting fog that felt more accidental than intentional.
Despite these issues, the show had its gripping moments. It succeeded in building tension and one thing I particularly appreciated was how easy the storyline was to follow. For a psychological thriller, it maintained clarity without oversimplifying, making it accessible without losing intrigue. I’ve found myself really enjoying this genre on stage, it offers an engaging, relatively easy watch that still gives you something to discuss with friends afterwards. I would like to revisit the novel, if only to compare what was kept and what was changed for the stage.
While the title might suggest a story heavily grounded in train journeys, the story is only loosely tethered to that setting. Nevertheless, for fans of psychological thrillers and stage adaptations, The Girl on the Train offers a moody, intriguing evening at the theatre.
The Girl on the Train plays at the Liverpool Everyman until 17th May. Tickets are available here.