REVIEW | The Girl on the Train, The Barn Theatre

★★★★

Written by Eliott

Something I have always commended The Barn Theatre for when talking about their productions to fellow like-minded theatre people has been the high calibre of material and creatives that have come out of their 200-seat capacity auditorium, and The Girl on the Train continues this streak of intimate storytelling to a room full of anticipated viewing. 

Their latest production, based on the bestselling novel by Paula Hawkins, which was later turned into a motion-picture film starring Emily Blunt, starts with our protagonist, Rachel Watson, somewhat dishevelled and dazed, and played by the exceptional Gemma Yates-Round. Portraying Rachel’s way of life, which is by no means a lighthearted backstory, is no mean feat. Still, Yates-Round is compelling viewing throughout, with all the facial intricacies, and Rachel’s emotional turmoil, reflected so truthfully in the performance. With pretty much constant stage presence, there are subtle and clever ways in which Gemma replenishes herself to stay hydrated in rather unusual surroundings, and the idea that our protagonist has an alcohol problem, certainly aids this. 

Alongside Gemma Yates-Round is a supportive ensemble who are electric in their dialogue and nuances; Brinsley Terence’s shows complexity in Rachel’s Ex-Husband, who often shares the stage with Emily Tucker as Anna Watson, the new partner and someone who I found perplexing, as on the surface we are drawn to Rachel’s idea of who Anna really is. Still, as the story unravels, the puzzle pieces start to form and Tucker’s subtle change in tone has us completely in the palm of her hands.

Sophie Walter and Claudius Peters as Megan and Scott Hipwell feed us with pure appetite in wanting to discover their enigmatic relationship, whilst Kareem Nasif as Megan’s therapist Kamal Abic, and Nick Read as D.I, Gaskill round off this tight cast, where too they keep guarded their intentions until the final moment of their singular breaking points. 

Photo: Alex Tabrizi 

Photo: Alex Tabrizi 

Photo: Alex Tabrizi 

Of course, none of these transfixing performances are created without the ingenious direction from their director, Kirstie Davis, who personally last enthralled me with their enchanting work on Daddy Long Legs in October 2019. Whilst visual comic relief is rather unnecessary in parts of this staging, I cannot fault Davis in churning out the emotion from her cast, and keeping us all engaged with such pleasure in the way that stage is never left bare, keeping our focus always on the action, even within scene changes. Dedication in working on Rachel’s spiral into dismay must also be congratulated, as Davis has worked wonders alongside Gemma Yates-Round to give us a truthful portrayal. 

For the stage itself, the use of the central upstage platform, once you get past Charlotte Henry’s gorgeous design, is a marvellous feat of conjuring this story. When the central archway acting as the underpass comes to life at the top of Act Two, Sam Rowcliffe-Tanner’s Lighting encapsulates the intensful moments with LED Batons that gives us an eerie, claustrophobic nature, matched with Harry Smith’s darkened undertone in Sound. Overall, The Barn Theatre have done the unthinkable; taking us away from our outside troubles and current climate, they have thrown us into a thriller that has you feeling breathless in so many twists in the story, and on the edge of our seats until the final moments.

Check out The Girl on the Train at The Barn Theatre until 29 Oct.