REVIEW: THE SILENCE OF THE LAMBS | THE LOWRY | 6/10/2026
The Silence of the Lambs at The Lowry – A Deliciously Dark Night at the Theatre
Thomas Harris’ The Silence of the Lambs has become one of the most recognisable psychological thrillers of all time. First published as a novel in 1988, its story and characters became even more widely known through the Academy Award-winning 1991 film starring Jodie Foster and Anthony Hopkins.
Now the story has been brought to the stage in a new adaptation by Gina Gionfriddo, directed by Nikolai Foster. Originally opening at Curve Leicester before heading out on a UK and Ireland tour, The Silence of the Lambs at The Lowry brings Clarice Starling, Hannibal Lecter and Buffalo Bill into the theatre in a production that combines psychological thriller with elements of horror.
I haven’t read Thomas Harris’ novel, but I had seen the film before, although not for a long time. I remembered the central characters and some of its most famous moments, but had forgotten a surprising amount of the story, so there were plenty of moments in the stage production that I couldn’t remember were coming.
Adapting such an iconic story is no easy task, particularly when the film and its performances have left such a lasting impression. Rather than simply attempting to recreate them, this production uses the possibilities of live theatre to find its own way into Harris’ unsettling world.
FBI trainee Clarice Starling is sent to interview imprisoned psychiatrist and serial killer Dr Hannibal Lecter. The FBI is investigating another serial killer, known as Buffalo Bill, who has been abducting and murdering young women, and they believe Lecter may be able to provide an insight into the killer they are trying to find.
But Lecter is not prepared to give up information easily. Instead, he turns their conversations into a psychological game, offering clues in exchange for increasingly personal details about Clarice and her past.
Meanwhile, the audience is also introduced to Buffalo Bill and his latest victim, Catherine Martin. The production frequently allows different parts of the story to unfold alongside one another, moving between Clarice’s investigation, her conversations with Lecter and Catherine’s increasingly desperate situation.
Having forgotten much more of the story than I realised, I became completely caught up in the investigation and the race to find Buffalo Bill. The different strands gradually coming together kept me gripped, and there were several moments that I genuinely couldn’t remember were coming.
For me, the production design is where The Silence of the Lambs really excels.
Michael Taylor’s imposing set dominates the stage, with its stone walls, multiple levels, corridors, staircases and numerous entrances creating a suitably cold and oppressive environment. Despite appearing almost fortress-like, it is surprisingly versatile, allowing the production to move between locations without ever losing the dark atmosphere that runs throughout the story.
At the centre of it all is Lecter’s transparent cell, which is one of the production’s most striking visual elements. The large glass structure moves around the stage and is used in different ways throughout the performance. It physically separates Lecter from Clarice while still allowing their conversations to feel unusually intimate, with the audience able to watch both characters’ reactions through the glass.
The scene changes are incredibly slick. Rather than stopping the action while one location is replaced with another, members of the company move scenery and props as part of the production itself. Dale White’s movement direction gives these transitions an almost choreographed quality, allowing the company and scenery to move fluidly around one another without interrupting the momentum of the story.
Howard Hudson’s lighting design works brilliantly alongside George Reeve’s projections. Much of the production has a cold, almost clinical appearance, dominated by greys and blues, before suddenly shifting into much more intense reds and greens during some of the darker sequences. These dramatic changes completely transform the same set and help give the different locations their own identity.
The projections are cleverly incorporated into the physical design too, establishing locations and adding extra visual detail without becoming distracting.
Carolyn Downing’s sound design and Grant Olding’s music are equally important in creating the atmosphere. Sound is used extremely effectively throughout, from quieter moments of unease to sudden loud noises and gunshots that provide several genuine jump scares.
Michael Taylor’s costumes complement the period setting, while the different uniforms and clothing also allow the ensemble to move convincingly between the numerous characters they play.
Individually, each of these technical elements is impressive, but it is the way they work together that makes the production so effective. The set, lighting, projections, movement and sound combine to create some of the most memorable moments of the evening.
Mollie Gallagher takes on the central role of Clarice Starling in what is impressively her professional stage debut.
She gives Clarice a real sense of determination and confidence while also allowing us to see the vulnerability beneath it. Her West Virginian accent is maintained consistently throughout, and she brings a calm but determined presence to the role. This is an impressive stage debut, with Gallagher confidently carrying much of the production.
John Partridge brings his own interpretation to Hannibal Lecter rather than attempting to imitate the performance audiences may already know from the film. It is such an iconic character, but Partridge makes the role his own and is completely captivating to watch. Even when confined within Lecter’s glass cell for much of the production, he has a strong stage presence and his scenes with Mollie Gallagher are some of the most engaging in the production.
Sam Jackson is excellent as Buffalo Bill. He manages to make the character appear almost ordinary and approachable at first before revealing the volatile and deeply disturbing man underneath. It is an unsettling performance, with Jackson moving convincingly between the character’s outwardly unremarkable appearance and the menace lurking beneath it.
Lottie Amor also gives a very strong performance as Catherine Martin. She is completely believable as a terrified young woman desperately trying to survive, convincingly portraying Catherine’s fear, anger and desperation during her captivity.
Oliver Farnworth provides strong support as FBI Agent Jack Crawford, while Jo Mousley, Jonny Magnanti, Andrew Joshi and Mark Peachey complete a hard-working ensemble.
Between them, the company take on numerous characters and are also integral to the fluid movement of the production.
Bringing The Silence of the Lambs to the stage was always going to be a challenge, particularly when the story and its characters have become so closely associated with an iconic film. However, this production succeeds in creating something that feels theatrical in its own right rather than simply trying to recreate what audiences have already seen on screen.
It had me completely gripped from start to finish. Having not seen the film for a long time and forgotten much of the story, I became really caught up in Clarice’s investigation and the race to find Buffalo Bill, with the tension building as the different parts of the story came together.
The production really comes into its own in what live theatre can offer. Nikolai Foster’s direction, Michael Taylor’s impressive set, Howard Hudson’s lighting, George Reeve’s projections and Carolyn Downing’s sound combine to create a slick, visually striking and incredibly atmospheric production. Add a strong cast, led by impressive performances from Mollie Gallagher and John Partridge, and there is plenty to admire.
The Silence of the Lambs at The Lowry takes an iconic psychological thriller and transforms it into an exciting theatrical experience in its own right. With impressive production design, strong performances and a story that had me completely gripped from beginning to end, this is a compelling stage adaptation that proves Hannibal Lecter can be every bit as fascinating in the theatre.
Dark, atmospheric and utterly gripping – The Silence of the Lambs had me hooked from start to finish.
The Silence of the Lambs will be at The Lowry until Saturday 10th October 2026. Tickets are available using the link below.
For more information about the production, including tour dates and show details, visit the official website below.
Photo Credit - The Lowry
*Our tickets for this show were kindly gifted in exchange for an honest review.
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