Single White Female, UK Tour Review (2026)
Written by Bella for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review
My mum and I were both excited to see the opening night of Single White Female at Nottingham Theatre Royal as part of its UK tour - and it proved to be a gripping night of theatre, one we both thoroughly enjoyed despite approaching it from different perspectives. While I experienced the story with fresh eyes, she watched with the original 1992 film firmly in mind. Interestingly, the production worked brilliantly for both of us.
As a standalone piece, it felt modern, intense, and genuinely absorbing, with a strong sense of momentum that kept the tension building throughout. The pacing was excellent, and the atmosphere developed slowly in a way that suited live theatre perfectly.
While the basic story is taken from the original film and the novel by John Lutz, everything else has been updated. The story is set in the present day, and the characters and their motivations have been altered to fit this modern retelling.
For my mum, the key question was whether the stage adaptation could live up to the film - and she said it did. She was impressed by how cleverly the story has been updated for today’s world, incorporating social media, tech culture, and modern anxieties without losing the suspense or emotional impact that made the original film starring Bridget Fonda and Jennifer Jason Leigh so memorable.
The contemporary elements felt relevant rather than shoehorned in, and for the most part, added depth rather than distraction. The play, adapted for the stage by Rebecca Reid, centres on Allie (Lisa Faulkner), a recently divorced mother and budding tech entrepreneur who, worrying about being able to pay her rent after ex-husband Sam (Jonny McGarrity) reduces her child support, decides to advertise for a lodger.
Hedy (Kym Marsh) replies to Allie’s advertisement, and events soon take a dark turn as Hedy’s obsession with Allie intensifies, steadily increasing the tension. The first act unfolds at a steady pace, setting the stage for a gripping second half.
At the heart of the production are two strong central performances. Kym Marsh is chilling as Hedy, delivering a compelling mix of charm, vulnerability, and underlying menace that keeps the audience constantly on edge. Her multi-layered portrayal makes her character’s obsession with Allie and her family unsettling to watch.
In her first stage appearance in more than twenty years, Lisa Faulkner brings warmth and sincerity to the role, engaging the audience as her character’s unease begins to unfold. While her performance is grounded and thoughtful, there were moments where the delivery felt more restrained, meaning some lines didn’t quite achieve the impact of Kym Marsh’s portrayal. Nevertheless, their on-stage chemistry and the gradual unravelling of their relationship were believable.
Amy Snudden is excellent as Allie’s teenage daughter, Bella, a new character written specifically for this adaptation. Snudden’s realistic portrayal of the moody, insecure teenager and the challenges young people face in trying to fit into society is one of the highlights of the production.
There is a nice little cameo from Allie’s close friend and business partner, Graham (played by Andro), who gets some of the funnier lines.
Director Gordon Greenberg keeps the production fast-paced, balancing suspense with moments of dark humour that briefly release the tension before it builds again.
The set design by Morgan Large focuses on Allie’s apartment, creating an intimate environment that suits the story’s tension. Sound and lighting, designed by Jason Taylor and Max Pappenheim includes sudden bangs and flashing lights, which succeed in making the audience jump and heightening suspense.
The scenes are occasionally interrupted by short blackouts and sound bites of current music from artists like Olivia Rodrigo, Radiohead, and Lizzo.
The Theatre Royal audience was absorbed throughout, with audible gasps and a clear sense of suspense all around us. By the end, it felt like one of those productions that gives you plenty to talk about on the journey home.
Overall, Single White Female is a clever update that works both as a tribute to the original film and as a compelling psychological thriller in its own right. If you enjoy dark, tension-filled drama, this is well worth seeing.
Plays at Theatre Royal, Nottingham until 24 January as part of the wider UK tour, which concludes in June 2026.
★★★★
