Directed by Nikolai Foster

Adapted by Gina Gionfriddo

Review by Hunter King

The Festival Theatre

When adapting a well known and beloved piece of media for the stage there will always be noise coming from the masses. Whether that be audiences that are disappointed that the show was too similar to the film, or that is strayed too far away from its source, adaptations will inevitably be held to higher standards (especially if they’re based on the only horror film to win Best Picture at the Academy Awards.) The Silence of the Lambs tries desperately to reach those high standards and nearly does before an unfortunate dip in the second half of the show.

Thomas Harris’ novel The Silence of the Lambs, may be his most well known, but undoubtedly the most famous character is the quietly violent cannibal, Dr. Hannibal Lecter (John Partridge). In Silence, Clarice Starling (Mollie Gallagher) is a new FBI recruit who is tasked by her boss (and potential lover) Jack Crawford (Oliver Farnworth) to hunt down a serial killer who has been skinning his victims, Jame Gumb, aka Buffalo Bill (Sam Jackson). Starling attempts to learn about criminal psychology from the notorious Dr. Lecter, almost forming a camaraderie with the cannibal in the process. 

The adaptation for the stage is a mixed bag of remaining faithful to the novel and (primarily) the 1991 film, and trying to create its own identity. At the forefront of fidelity to the source material is Gallagher, who plays Agent Starling with a confidence that is tried and tested over the course of the performance. Despite Starling wavering, Gallagher never does. Her physical performance is sharp, driven, and precise and her accent work as the West Virginian rookie is both fitting for the role, and recognizably similar to the one Jodie Foster made famous in the film.

One thing to praise is playwright Gina Gionfriddo and Sam Jackson’s careful portrayal of Jame Gumb. In other adaptations of The Silence of the Lambs, there are often conversations surrounding Gumb’s gender and a dangerous conversation that connects transness to mental illness, a problematic element that not only dates the story but can cause actual harm in its negative depiction. Gionfriddo works around this in a clever way that doesn’t detract from the story, but also doesn’t leave any room to question Gumb’s gender, crafting a more intriguing and still believable story that explains Gumb’s backstory. Of course, this is only complemented by Sam Jackson’s performance as the character. While the character of Gumb was inspired by real-life serial killers, with Ted Levine in the film aiming for an approach modelled more closely off of Ed Gein, Jackson is a much friendlier face at first, and believable as the type of killer that lures people in, like the other inspiration for the character, Ted Bundy. Jackson can combine this suave nature with a short temper and well-maintained physical portrayal that is haunting as a genuinely new, and possibly improved portrayal of Buffalo Bill.

Partridge is a very different Hannibal Lecter, leaning more into the vibe of being a “southern gentleman” from the U.S., something that at first seems like it could be an interesting take on the character, but quickly is ruined in the conversation where he talks about Clarice being “common” based on her accent, to which his is quite similar. Partridge also brings a lot of emotion to Lecter, which may have been a choice adjusting to the fact that they were on stage and needed bigger performances, but inevitably killed the horror of having Dr. Lecter as a calm and quiet presence. Hannibal Lecter is a character that garners fear from being menacing, not from being outright loud and shouty. This is exemplified especially during an iconic scene in the second act where Lecter finally has the chance to make bigger choices, but Partridge does so in a ridiculous way that feels almost childish. All of this built up to a moment of staged violence that was so unrealistic it genuinely tarnishes the vision of the show from that point forward.

With this in mind, the show is not without its successful elements. The technical design of the show is done incredibly well. The synchronicity between the sound department (headed by Carolyn Downing) and the lighting department (headed by Howard Hudson) was pristine, making for scene changes and background elements being some of the most impressive moments in the show. Additionally projection designer George Reeve uses projections in a way that mostly (minus one distinctly cartoony blood spatter moment) feel like they are built perfectly in the scene. The diegetic projections don’t distract from the rest of the scene, and the non-diegetic ones provide an outline that completes the picture in a dynamic and exciting way. Grant Olding provides a haunting underscore that feels like a time capsule of the 1990’s has opened up, and when blended with the popular music that laces the show, it creates an atmospheric dread that perfectly encapsulates the point of the story. Finally, Michael Taylor’s costume and particularly set design are nothing short of awe inspiring. The (now four dimensional) Lecter cage is perfectly suited for the show, and having it be used innovatively in different ways throughout was the icing on the cake.

The show overall has some moments that make it worth the audience’s time to see, especially for a chilling visual at the end of the first act. There are however too many large holes for it to have a full glowing review, including the writing seemingly forgetting that Dr. Lecter is a cannibal, where several key lines from the story that solidify him as a villain, and bring home the sense of fear are completely omitted. There is also a Scooby-Doo style chase sequence in what should be the climax of the show, and a sequence of really poor stage combat that when combined end up being the memorable moments of the show; it’s unfortunate considering the show actually does a pretty excellent job at building suspense and dread. Overall, if you’re itching for a horror show, this may scratch the itch, but the likelihood is, the movie will just do it better.

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