“A high-budget production without the high-octane thrills that should follow suit”
Based on the novel by Thomas Harris, The Silence of the Lambs follows FBI trainee Clarice Starling as she seeks help from the infamous Hannibal Lecter in uncovering the identity of serial killer Jame Gumb/Buffalo Bill. In its first stage adaptation, written by Gina Gionfriddo and directed by Nikolai Foster, The Silence of the Lambs looks spectacular, but struggles to innovate.
Though the programme notes the production has the rights to the book but not the film, it feels remarkably like watching the film with 3D glasses on. In an effort to nail the most iconic scenes immortalised by the film, the production neglects the majority of its runtime, and thus forfeits most opportunities to build suspense. Whilst Gionfriddo’s writing focuses attentively on Clarice’s trauma and origin story, we wait for the spring to start loading as the broader danger remains unpalpable. Director Nikolai Foster appears more preoccupied with blocking than tone or pacing when setting up for the story’s climax. The piece plays it so safe as to neglect Jame Gumb’s potential trans identity, seemingly an intentional decision to remain as inoffensive as possible.
After a tentative start, the play finds its feet in the second act. The iconic scene where Hannibal moves facilities is punchy and theatrical, and the fight is well-choreographed. The scene for which I was most apprehensive was the night vision scene, particularly in such a vast space, but the lighting, projection and gauze are inventive in snapping us out of Clarice’s perspective, Gumb momentarily taking control.
The set is beautifully designed and transforms effortlessly between locations. A highlight is Hannibal’s “cage”, whereon we see Gumb, looming, working on his creation; Foster uses the space deftly, characters often crossing between scenes. Tight projection mapping helps clarify locations and transition between the characters’ world and ours. Oddly, the set being so impressive becomes an issue, drawing attention to weaker elements. The gore props, for example, appear plasticky, even from the circle.
The piece would benefit from a more consistent soundtrack to build tension, as transition music feels out of place. The play leans on scream sound effects for dramatic reveals – a clear sign, alongside heavily expository dialogue, that the production does not trust its audience. Furthermore, the microphones’ output sounded more like a football stadium than a theatre, detracting from the claustrophobia the book and film cultivate so well. The lighting could be used more effectively to enhance this too, as the stage often felt wide open despite many basement scenes.
The stand-out performance is Sam Jackson as Jame Gumb. He brings a physicality and attitude that feels both disarming and unpredictable, something boiling just beneath the surface. The ensemble also provides compelling performances; Mark Peachey in particular provides a lovely splash of eccentricity, and Lottie Amor shines in her scenes opposite Jackson.
Mollie Gallagher’s performance warrants praise too, as she makes her stage debut with poise, and carefully captures the trauma motivating Clarice. John Partridge portrays Hannibal’s quiet gravitas and vicious explosions well with his own interpretation, but it would be nice to see a richer portrait of the in-between, where the character is arguably most dangerous.
It seems this piece does not know what it is outside of the source material. Perhaps it would benefit from a smaller space, to position the audience closer to the action and increase suspense. It should, in my opinion, either lean into the theatricality warranted by such a large production, or aim for stickiness and claustrophobia within a smaller venue.
Despite strong performances and thoughtful design, The Silence of the Lambs is a high-budget production without most of the high-octane thrills that should follow suit. Low risk and low reward, it left me wanting more.
The Silence of the Lambs runs until 10 October at Lowry, Salford before continuing a tour. Tickets are available here.