The Girl on the Train

The Girl on the Train, is a 2019 psychological thriller adapted for the stage by Rachel Wagstaff and Duncan Abel from a novel of the same name penned by Paula Hawkins in 2015. It is a tale of betrayal and coercive control in the form of what’s called ‘gaslighting’, with an intriguing mystery at the heart, a mystery that is maintained right until the end. Director Isobella Coleman handled what must be a pretty complex script well. There is little sense of the passage of time and the ease with which Rachel manages to get herself involved in the official police investigation is somewhat questionable.  However, all that aside, the parts of the story told in flashbacks was well handled as were the pretty physical attacks on both Rachel and Megan. The production had a good pace and the tension was well maintained only flagging in the final scene.

With (I think) sixteen scenes to accommodate the need to keep the action flowing was a significant challenge to the set designer Paul Robbins which was well met.  Using an open stage the arriving audience had the opportunity to absorb the atmosphere of a subway arch centre stage with a railway track running along the front apron.  The four other required locations were on moveable three-sided flats and depicted Rachel’s bedsit, the home of the Watsons and that of the Hipwell’s plus the psychiatrist’s consulting room. Compliments to the props and set dressing team for such attention to detail in all areas.  I am not a fan of the audience being blinded by bright stage lights, which in this case depicted trains passing during the very swift scene changes, but having said that Ashley Radley’s lighting design was very effective creating the right atmosphere in each acting area. Some fine follow spot work too. Sound (Dave Maltby) was also extremely good and with a couple of exceptions of an acceptable level.  The couple of late technical cues on the first night could be forgiven. Costumes were suited to character with maybe the exception of D I Gaskill who, rather than authoritative, did look as though he had been called in on his day off.  Nice touch with the crime scene officers all in white forensic suits working away during the interval. This must have been a real challenge for both the production team and stage management team, there was a great deal going on… but that challenge was accepted and dealt with well.

The Girl on the Train journeys into the chaotic life of Rachel Watson.  An alcoholic on the brink of losing everything, she is a marriage and a job down, about to lose her home. Her response is to escape into someone’s else’s seemingly perfect life which she sees every day on her commute to work.  Virtually never off stage the extremely talented Abbie Lathwell was a tour de force as Rachel, negotiating the always difficult task of presenting the life and persona of an alcoholic while avoiding the stereotypical pitfalls of acting drunk.  This was an utterly believable and accomplished performance from beginning to end. 

George Kelly made an excellent DI Gaskill, a patient and persistent character who develops a relationship with Rachel. Her seemingly long-suffering ex Tom was well played by Nigel Moorhouse as was his second wife Anna played by Grace Chapman.  Heike Revelle had a difficult role as Megan as we see her only in flashback but she effectively used her second act scene to give greater prominence to Megan’s backstory. Ian Worsfold as Megan’s bereft partner Scott was another giving a fine performance as was the unfathomable Kamal played by James Walters who kept you guessing as to his motives in the life of Megan. 

Congratulations to Director Isobella Coleman for having the vision, to the cast for bringing that vision to fruition and to St Neots Players for having the courage to take up and meet the challenges this play presents.  I read the book when it was first published and so was interested to see how it transferred to the stage. Thank you very much for inviting me, for your hospitality and for an intriguing evening of theatre.

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