The Girl On The Train

The Girl on the Train is a gripping and emotionally charged stage adaptation that pulls no punches in its portrayal of fractured identities, unreliable memory, and the dark truths lurking behind closed doors. The production’s visual and performative elements worked in unison to create an immersive and unforgettable theatrical experience.

The play opens on an evocative open set, with the back of the stage raised and cluttered with familiar items one might find scattered around an apartment. The attention to detail here was nothing short of remarkable—it immediately conveyed the impression of an unkempt, chaotic household. This visual landscape seeded a sense of mystery and intrigue even before the first line was spoken, inviting the audience to imagine the troubled life behind such disorder.

Three cleverly placed projection screens further enhanced the production's visual storytelling. These multimedia elements were integrated seamlessly throughout the performance, elevating the theatrical experience and drawing the audience deeper into Rachel's fragmented world. They felt essential rather than supplementary, and they proved pivotal in illustrating shifts in time, memory, and emotional landscape.

One of the standout strengths of the production was the excellent use of proxemics. The physical relationships between characters on stage were consistently well thought-out, with every entrance and exit executed with confidence and precision. These movements weren’t just polished—they helped convey power dynamics, emotional disconnects, and character evolution.

Emily Redwood’s portrayal of Rachel Watson, the deeply flawed yet compelling protagonist, was nothing short of extraordinary. Rachel’s daily train rides serve both as a literal and metaphorical window—into a mystery she longs to solve, and into her own unravelling psyche. Emily masterfully inhabited the role of a divorced, unemployed alcoholic grappling with infertility, heartbreak, and a fractured sense of self. Her performance took the audience on a rollercoaster of emotions as Rachel’s journey of self-destruction slowly turned into one of self-reclamation. With vulnerability and grit, Emily brought to life a character who is brave, intuitive, broken, and ultimately redemptive. It was an emotionally resonant performance, one that lingered long after the final curtain call.

Rachel’s ex-husband, Tom Watson, was played by Luke Oldham, who delivered an equally impressive performance. Tom was both chilling and dangerously charming—his affable surface slowly peeled back to reveal a deeply manipulative and abusive man. Luke deftly captured this duality, lulling the audience into a false sense of security before confronting us with Tom’s true, darker nature. His performance during the play’s climax, when Tom’s fate is sealed, was a masterclass in restraint and power, illustrating that evil doesn’t always wear a monstrous face.

Tom’s current wife, Anna Watson—portrayed by Caitlin Dykes-Johnson—was also compelling to watch. Initially portrayed as the image-conscious mistress-turned-wife, obsessed with appearances and social standing, Caitlin managed to make Anna both icy and human. As the narrative progressed, Caitlin revealed Anna's vulnerability and her own experience of emotional abuse. Her performance gained emotional weight and depth, culminating in a nuanced portrayal of a woman torn between resentment and survival.

Amy Leech took on the role of Megan Hipwell, the beautiful and mysterious neighbour seen by Rachel as the embodiment of the perfect wife and life. But beneath Megan’s polished exterior lurked a troubled soul, haunted by secrets and deeply lonely. Amy delivered a powerful performance that captured Megan’s restlessness and desperation to outrun her past, only to fall victim to it.

Scott Hipwell, played by Lee Brown, brought yet another layer of emotional intensity to the stage. His portrayal of a man unravelling under the weight of grief, insecurity, and toxic masculinity was both terrifying and, at times, heartbreakingly sympathetic. Lee's consistency and emotional range kept the audience on edge, constantly questioning Scott’s capacity for both love and violence.

The technical elements of the show were equally impressive. Lighting designers Adam Hardy and Laura Nancollis painted each scene with just the right touch—drawing focus, setting tone, and sculpting mood with precision. Joe Allies’ sound design was immersive and complementary, with effects that enriched the world without overwhelming it. And a special mention must go to Taffy Davies for the visual projections, which were intelligently placed and thematically resonant throughout.

Finally, the direction by Francesca Dykes deserves high praise. She clearly guided the cast with assurance and vision, maintaining narrative tension while letting each actor shine. Her direction balanced the psychological depth of the story with the gripping momentum of a thriller.

Overall, The Girl on the Train was performed with immense care, conviction, and a cohesive sense of purpose. It was a chilling, emotionally raw, and artistically rich night of theatre—one that delivered on every level. Thank you MADS Theatre and Richard Shute for your lovely warm welcome and hospitality, I look forward to seeing you all soon.

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