When a theatre performance ends and all you can think is “wow”, you know you’ve seen something very special; The Girl On The Train is nothing short of fantastic. This gripping adaptation of Paula Hawkins’ bestselling novel has been transformed into a stylish, slick and emotionally charged theatrical experience that holds its audience captive from start to finish.
What immediately stands out was the incredible finesse with which the production handled its transitions. Each scene change was not only seamless but beautifully choreographed, turning practical movement into visual poetry. At times, it felt like the entire stage was breathing in rhythm with the narrative — smooth, calculated and deeply affecting.
What makes this adaptation particularly clever is just how close it stays to the heart of the novel. While theatre often necessitates a degree of trimming or transformation, this version retains the psychological depth and spiralling tension that made the book such a page-turner. The staging never feels like it’s rushing the story, but rather illuminating it from new and surprising angles.
At the centre of this performance is a brilliant portrayal of Rachel Watson by Laura Whitmore, who is, quite simply, astonishing. Her performance is layered with pain, confusion, defiance and vulnerability, and she brings a raw emotional energy that is both harrowing and magnetic. Whitmore’s Rachel is a woman on the edge, and the edge feels frighteningly real. From her drunken spirals to the moments of clarity that break through the fog, her portrayal is so convincing that you find yourself entirely lost in her world.
Samuel Collins as Scott Hipwell is equally compelling. His performance crackles with barely-contained emotion — grief, suspicion, rage — and his tension radiates through every scene he inhabits. The dynamic between Collins and Whitmore is electric, and it adds further depth to the already taut storyline. The entire cast bring such depth and meaning to their roles and to the story as a whole that it’s a joy to watch: there are deeply emotionally charged scenes which captivate and enthral.
One of the production’s standout features is its stylised theatrical moments. There are scenes on the train created with just movement; and the evocatively staged scenes of Rachel drinking, including a heartbreaking piece in stylised slow motion, powerfully capturing Rachel’s emotional fragility. Her inner turmoil is mirrored in the fragmented movements and haunting lighting, giving us not just a sense of the physical journey but the psychological one too. One memorable visual metaphor saw her literally trapped inside her emotions, running in a rotating box from which she couldn’t escape — a stunning and poignant representation of mental entrapment.
There is one scene of such emotionally charged gaslighting that it’s an incredibly uncomfortable watch, yet Rachel’s moment of clarity due to a chance phrase is beautifully satisfying. The depictions of coercive control and abuse are subtle and very necessary; as are the alcohol addictions. This adaptation is not afraid to tackle the extremely gritty, but does so quite beautifully; while also adding in appropriate humour from the Detective, which makes it all the more real.
Another beautiful motif was the way Rachel signalled the beginning of new segments of the story with a swirl of her coat — subtle, simple and utterly effective. These theatrical flourishes never distracted but rather enhanced the storytelling, adding texture and emotional depth.
This is a production that understands its material deeply and isn’t afraid to be both theatrical and truthful. It’s a clever, emotionally resonant and visually arresting piece of theatre — and the cast give it everything. A captivating, stylishly directed and superbly acted thriller. The Girl On The Train is a must-see.
Theatre Royal Brighton, 6 June 2025
The Girl On The Train runs until 7 June 2025
Photos credit: Danny Kaan
