A tense and modern reimagining of a cult thriller that explores how trauma, identity and technology blur the line between love and obsession.
Based on the bestselling novel by John Lutz and the Columbia Pictures film that made the phrase part of everyday language, Single White Female has been brought to the stage in a new adaptation by Rebecca Reid, directed by Gordon Greenberg. This version does not try to recreate the nineties. It plants the story firmly in today’s world, with phones, social media and even AI changing how the story is delivered.
The tension builds early with clever music to signpost each eerie slip of Hedy’s true self. You can feel something tightening between Allie and Hedy long before anything obvious happens, and that is what keeps it gripping.
Lisa Faulkner plays Allie as capable and self aware. She is rebuilding her life after a breakup and advertises for a flatmate, and is strong but vulnerable much like her film. You can also sense the impact of past hurt in the way she reacts and second guesses herself.
Kym Marsh’s Hedy is loud, manipulative and always watching. She does not arrive as a clear threat. At first shes the perfect lodger of a little nosey. Then small things start to shift. The copying of mannerisms. The way she studies Allie. The slight changes in tone. Marsh keeps it subtle, which makes it more unsettling. You are never fully sure how far things will go.
Bringing the story into the modern age adds a sharper edge. Phones are used naturally and become part of the tension rather than just background noise. The AI references feel timely. They underline the idea that identity today can be replicated, edited or observed in ways that feel invasive. Adding to the themes of stalking that the original novel set out to display.
Jonny McGarrity brings charm to Sam and avoids turning him into a stereotype. Andro as Graham offers warmth that cuts through the claustrophobic feel of the central relationship. Amy Snudden’s Bella feels especially relevant in how she navigates influence and validation. The supporting cast strengthen the world of the play without distracting from the main dynamic.
Gordon Greenberg keeps the pacing steady. Scene changes are smooth and the music during transitions, designed by Max Pappenheim, genuinely stands out. It builds anticipation rather than giving you a break, so the tension keeps simmering. Morgan Large’s set design presents a clean, modern apartment that slowly feels less safe as events unfold. Jason Taylor’s lighting narrows the focus at key moments without drawing attention to itself.
What makes this adaptation land is how it explores trauma and stalking. People are not always what they seem, and sometimes we ignore warning signs because we want connection more than we want distance. The play leans into that ambiguity. It leaves you questioning who is in control and whether that control was ever secure to begin with.
This show runs until 14 February 2026 at the Opera House, Manchester before continuing a UK and Ireland tour including Woking, Richmond, Milton Keynes, Birmingham, Stoke on Trent and Glasgow.