Review: The Silence of the Lambs – Festival Theatre, Edinburgh

Taking an iconic book which became an even more iconic film and converting it into a stage play is a brave move – and one which has largely paid off here. Gina Gionfriddo’s production of The Silence of the Lambs, based on Thomas Harris’s psychological thriller, largely succeeds in its aim of bringing the novel to the stage for the first time.

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For those readers who have not seen the titular film, the plot centres around the relationship between rookie FBI agent Clarice Starling (Mollie Gallagher) and incarcerated serial killer Hannibal Lecter (John Partridge) as she attempts to leverage his insight to help her stop another dangerous murderer.

Michael Taylor’s set is an ingenious piece of stagecraft, used to create a variety of locations. Lecter’s cell is particularly effective: it provides the drama of a maximum-security prison but serves a number of other uses due to clever thinking.

The ensemble gives the production a scale beyond its actual cast size: Andrew Joshi, Jonny Magnanti, Jo Mousley, Minal Patel, Mark Peachey, and Mary Timbrell-Hill all move between roles with such fluency that you don’t really notice it is the same person in multiple roles.

Sadly, technical problems with the two leads’ microphones during the first half left much of the dialogue unintelligible. The issue was compounded by unnecessary sound effects which were a distraction from what the characters were saying. There was also music between scenes: as an 80s kid I love a tune or two, but I felt the music was unnecessary and detracted from the focus of the plot: the psychological duel between Lecter and Starling as the hunt for Buffalo Bill becomes ever more urgent.

Much of the novel and the film’s success is through subtlety (other than violence) and, of necessity, a lot of this is lost by putting The Silence of the Lambs on stage where actions and speech must be ‘bigger’ to reach all the audience. In the book Hannibal and Starling have no physical contact; in the film he touches her briefly; in the play there are several instances of prolonged physical contact. In another example, we never experience Hannibal or Buffalo Bill’s violence firsthand in the novel or film—Harris only gives us an understanding of what has happened through Starling. This is not the case in the play, where we see him murdering a guard before he escapes. These and other changes heighten the immediate theatrical tension, but sacrifice the subtlety that made the original material so unsettling.

The stage play is less graphic than the film; however, the props team have made great efforts on several gory and effective special effects which they have done well to translate to the live setting.

Cast and Performances: A Bold Reimagining of Lecter and Starling

The second half of the play is markedly stronger, as the investigation gathers pace and the cast settles fully into their roles. US accents take a little time to bed in, but both Partridge and Gallagher ultimately hold their own beneath the long shadows cast by Anthony Hopkins and Jodie Foster.

Partridge (EastEnders) resists simply imitating Hopkins. Where the screen Lecter displays his superiority through icy disdain, this version leans into arrogance. There is menace in his self-regard, although moments such as his urinating in front of Starling—and his more obvious dependence on her attention in the play—sit uneasily with a character for whom manners and civility are so important.

Mollie Gallagher (Coronation Street) creates a more assertive Starling than Jodie Foster. Where Foster was cautious and guarded with Lecter, Gallagher stands up to him and demands her “Quid Pro Quo”.

Among the supporting cast, Oliver Farnworth (Emmerdale) brings authority to Jack Crawford, but we don’t see enough of him to know what his purpose is in the play other than to task Starling with various investigative activities. Lottie Amor is excellent as Catherine Martin, demonstrating her desperate attempts to do whatever she can to keep herself alive and then – when she realises how dire her situation is – to end her life quickly. Amor is clearly a very gifted young actress of whom we will surely be seeing more. Sam Jackson is equally strong as Buffalo Bill, presenting him as an angry young man with an unnerving air of vulnerability. The adaptation provides a fresh take on his motive: rather than a desire to become a woman, it roots his actions in the loss of his mother and a compulsion to recreate her.

The Silence of the Lambs delivers a memorable theatrical experience and a masterclass in stage design. It stands comfortably above most theatrical adaptations, although manipulating the novel into a play has meant trading subtlety and nuance for immediacy and impact on a number of occasions. The talented cast and creatives have worked well to deliver an evening which is enjoyable and value for money – they deserve to relax backstage with a nice Chianti whilst they reflect on their success.

All Images: Silence of the Lambs (c) Marc Brenner

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The Silence of the Lambs will play the Festival Theatre, Edinburgh, until Saturday 12th September 2026 before continuing on national tour. For tickets or more information, click here: https://www.capitaltheatres.com/shows/the-silence-of-the-lambs/