There was a certain poetry to the Lyceum crowd on press night: a conspicuous number of women, many arriving in pairs or small groups, gathering to watch Single White Female. Whether or not they were single is beside the point, but the demographic symmetry with the title did not go unnoticed. Let’s hope there were no guns hidden amongst the handbags.
This stage adaptation of the cult 90s thriller trades glossy Hollywood sheen for theatrical intimacy. Kym Marsh steps into the role of Hedy, a suspiciously unconnected lodger with edges that gradually sharpen, opposite Lisa Faulkner as Allie, the flat owner whose carefully ordered life begins to fracture. From the outset, the production signals that we are not in safe territory. Stark interludes of a baby crying beneath cold hospital lights punctuate the action, hinting at buried trauma and a connection between the women that runs deeper than convenience.
In truth, the piece relies heavily on atmosphere and revelation rather than a great script and intricate wordplay. Suspicion hangs in the air almost immediately, and the tension lies less in if something will unravel than how. At times, however, the text lacks the psychological layering needed to sustain the unease. Dialogue can feel blunt, occasionally jarring, and this robs certain exchanges of any sort of nuance. It is not for want of commitment from the cast.
Marsh finds compelling shades in Hedy, particularly in a late first half confession that brims with genuine feeling. Faulkner’s Allie is convincing in her mounting exasperation and fear, though the writing does her few favours. Amy Snudden, as the easily manipulated teenage daughter Bella, brings a grounded, natural presence, while Andro’s Graham injects warmth and levity at crucial moments. Johnny McGarrity meanwhile, as ex-husband Sam, delivers a confident, assured performance that adds welcome texture to proceedings.
As the second half unfolds the show gathers momentum, driving towards a series of confrontations that should be breathless. Yet some of the physical sequences feel slightly under-rehearsed, with beats that do not always land. One moment even had some members of the audience laughing – and trust me – that wasn’t the attention.
Even so, a final twist cleverly reframes the narrative and leaves the audience with something suitably intriguing to take away. It may not be the season’s most polished thriller, but it just about offers enough theatrical flair to make for an engaging night out.
