The Silence of the Lambs at Nottingham Theatre Royal Review

DISCLOSURE – TICKETS TO SEE THE SHOW WERE GIFTED TO THE REVIEWER AND GUEST FOR THE PURPOSES OF WRITING THE REVIEW

Reviewed by Alexander Wilde

There are some stories that arrive on stage carrying an almost impossible weight of expectation – ‘The Silence of the Lambs’ is undoubtedly one of them. Thomas Harris’s novel has become a defining piece of psychological thriller writing. This, combined with the 1991 film adaptation, transformed the characters of Dr Hannibal Lecter and FBI Agent Clarice Starling into cultural icons. Anthony Hopkins and Jodie Foster’s portrayals have become so deeply embedded in popular culture that it is difficult to encounter either character without bringing those performances with you.

This also leads to caricature; Hannibal has been imitated, exaggerated and parodied so often that some of the character’s original menace has inevitably been dulled. I found myself wondering before the curtain rose what this stage adaptation could possibly bring to a story I already knew so well. I wasn’t expecting it to replace the fantastic novel or film, but I was hoping it might find something fresh within it, retaining the complex core of the characters while giving them a distinctly theatrical life of their own.
For me, this was where the production struggled.

Star of stage and screen John Partridge, as Hannibal, clearly relished the opportunity to take on one of cinema’s most recognisable villains. There was a real commitment to the role and a physicality to his portrayal that sought to create menace through presence and strength. Yet I found myself wanting more from Hannibal Lecter than physical menace. His greatest weapon is surely his intellect, his ability to manipulate, unsettle and control through oracy, and I didn’t always feel that sophistication coming through.

The dialogue also felt less sharp than I had expected. For a character capable of dissecting the people around him with extraordinary precision, I wanted those exchanges with Clarice to have a greater psychological bite. There were moments when the audience chortled, and while there was nothing wrong with the audience enjoying themselves, I couldn’t help thinking that Hannibal Lecter really shouldn’t be funny.

Perhaps unfairly on my part, the contrast is particularly striking when I think of Mads Mikkelsen’s portrayal in the ‘Hannibal’ television series. That interpretation found something very different in the character: it was a masterclass in understated horror, elegance, and psychological manipulation, but then again that was over the course of thirty hours or television! I was just hoping this production might similarly offer a fresh perspective.

The same was true for Buffalo Bill. Sam Jackson brought commitment to the role, yet, despite the psychosis radiating from him, I didn’t find the character as unsettling as I wanted him to be. This is a monster who should make your skin crawl, and although the brutality of his story is obviously present, it didn’t quite resonate with me in the way I had hoped.

Mollie Gallagher, as Clarice Starling, complete with the distinctive West Virginian accent, brought the intelligence, confidence and determination of a young woman fighting to establish herself within male dominated law enforcement. Importantly, she also found the vulnerability beneath that confidence. Clarice’s childhood trauma, the death of her father and the haunting memory of the lambs are fundamental to understanding her motivations, and there was a genuine sense that she was searching for something in both Hannibal Lecter and Jack Crawford, played by Oliver Farnworth. Crawford alongside FBI Trainer Brigham occupy something of substitute father-figure roles, while Lecter becomes a much darker and more complex counterpart to that relationship.

I thought Gallagher’s performance understood that complexity. There was a quiet fragility beneath the professional exterior, particularly in those moments when Clarice was forced to confront the experiences that had shaped her. For me, this was closer to the emotional heart of the story than some of the treatment of its more notorious characters.

That said, I wouldn’t want those reservations to detract from the considerable aptitude and commitment of the performers. The three central performances, together with the wider ensemble, were delivered with energy and enthusiasm. I had no doubt that everyone on stage was fully invested. My reservations were much more about the interpretation and the dramatic impact than the talent behind it.

Where ‘The Silence of the Lambs’ really held my attention was in its stagecraft. I was incredibly impressed by the design of the multi-purpose asylum setting. Set and Costume Designer Michael Taylor had created a linear perspective of the cell corridor as a two-storey structure, complete with stairwell and gantry creating the unmistakable feel of an institutional prison environment. Hannibal’s cell slid out from the wider structure to place him centre stage during his exchanges with Clarice, creating a wonderfully theatrical focus for those pivotal conversations.

More impressive still was the sheer versatility of the set. Through clever lighting, props and movement, the production transported us from Quantico’s FBI shooting range to offices, bars, domestic interiors and the claustrophobic basement where one of Buffalo Bill’s victims is held. The mortuary sequence was especially striking, with the use of plastic, abattoir-like blinds creating an appropriately clinical and unsettling environment before the space transformed again.

The photorealistic digital projections were excellent, too. They added scale and detail without overwhelming the stage, while the newsreel-style sequences helped establish that unmistakable 1980s atmosphere. Costuming, sound effects and lighting all contributed to creating a world that felt authentic to the period.

There were times when I found myself more fascinated by how the production was creating these environments than by what was happening within them. That is perhaps the greatest compliment I can give the technical team. The stagecraft demonstrated exactly what a theatrical adaptation can do with material so closely associated with cinema.

It was also good to see the Theatre Royal full, and the response from the audience at the end was palpable. Pleasingly, many people thoroughly enjoyed the evening, and ultimately that matters. Theatre is subjective, and what didn’t completely land for me clearly did with plenty of others.

The story was always going to be familiar. That isn’t really the fault of the production. What I was looking for was a fresh theatrical interpretation of those iconic characters, and I didn’t quite find it. What I did find was an impressively constructed production, with clever design, excellent projections, atmospheric sound and some genuinely inventive stagecraft. Ultimately, this was a production I admired more than I loved.

Rating: 3/5 Stars

Ticket prices are from £22.00
On Stage from Wednesday 16th to Saturday 19th September 2026, for more information or to book tickets visit https://www.trch.co.uk/whats-on/silence-of-the-lambs-ql7t
or call the box office on 0115 989 5555
Theatre Royal & Royal Concert Hall, Theatre Square, Nottingham, NG1 5ND

For full tour and information, visit https://silenceofthelambsplay.com

The splendorous, Victorian Theatre Royal, and neighbouring Royal Concert Hall, stand within a clean, well-lit, and popular area of the city centre which has benefited from extensive regeneration and considered transport links. The Theatre is surrounded by a range of bars, restaurants, and entertainment options for a wonderful night out in the bustling city. Arriving by car, routes to the theatre were well signposted and nearby parking was plentiful.

The main foyer is elegant and spacious, with a recently renovated bar. You are sure of a warm greeting and a great atmosphere. The bars/concession stands are well manned, stocked and of standard prices for theatres. I have sat in both stall and dress circle seats; both are comfortable and provide excellent views of the stage.