The Hunger Games on Stage at Troubadour Canary Wharf Review
Written by Roni for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Nestled in the heart of Canary Wharf, something new is beginning to burn as The Hunger Games comes to UK stages for the first time. However, the question is – will we burn with it, or will this production be unable to light the match?
The Hunger Games follows the story of Suzanne Collins’ first hit novel and subsequent film adaptation, set in a dystopian future where the citizens of Panem rebelled against their own government, and are now forced to send their children to compete in an annual fight to the death as a punishment. We meet Katniss Everdeen, a coal miner’s daughter from District 12, on the eve of the reaping for the 74th Hunger Games, as she and her friend Gale hunt and lament on the life they’d like to live if it weren’t for the games. At the reaping, Katniss’ younger sister Prim has her name pulled as tribute, forcing Katniss to volunteer in her place alongside the quiet baker’s boy, Peeta Mellark. As they are transported to the glittering capital, their grim reality sets in; they must become fighters, for it is kill or be killed – but in a new world obsessed with appearance and deception, do they really have it in them to do what it takes to become victors?
The new Troubadour Canary Wharf is a purpose-built theatre right on the quay, designed entirely to suit this production. There is a vision here, and some technically difficult elements that are executed very well. Unfortunately, that is where the positives of this space end. Whilst a clear attempt has been made to create something groundbreaking, the team behind this production must sadly be digging with spoons.
Several gimmicks might entertain or even wow a fairly pliable audience, such as various set pieces moving around the action instead of the inverse, or attempts to bring the action into the fairly steep rake of seating using wires and tricks. However, what should, in a purpose-built space, feel sleek and jaw-dropping instead feels clumsy, awkward, and shoehorned. Large pieces of rigging lower from the ceiling as ‘trees’ for the characters to escape up in life or death moments – as they pause mid-run to harness themselves in. Huge swathes of the set open out to allow for the more grandiose action of the Capitol – only for what should be a chariot to instead appear on wires suspended between the audience. Even allowing for a certain amount of grace regarding technical restrictions, there are some odd artistic choices at play, such as each of the tributes getting up and simply walking off stage in full lighting when they die. There is also a lack of consistency within the set design, as attention is paid to the sleek and shiny sets of the Capitol, but no attempt at all is evident in depicting rigging as trees. It is a real shame to see the effort and build up that has been created around this exciting new venue and show, only for it all to fall slightly flat. It’s also worth noting from a practical perspective that the production still hasn’t quite cleared up its runtime issues, overrunning by almost 20 minutes – which, when you’re tucked away in Canary Wharf, can be a public transport problem.
The script is unfortunately also a little clumsy, and means the acting feels almost like a caricature at times. The choice to have Katniss narrate various parts of the story, along with the strange technical elements, takes the audience out of the story time and time again. That being said, the cast is doing an excellent job with what they have, and they, of course, have some large Hollywood shoes to fill. Tamsin Carroll, Nathan Ives-Moiba and Stavros Demetraki are excellent as Effie Trinket, Cinna and Caesar Flickerman, respectively. Each has perfected that gaudy Capitol glow that masks the personalities underneath, which they give just enough of a glimpse of to persuade the audience that they are not like the rest. Joshua Lacey’s Haymitch has a limited amount of stage time, but it’s enough to make an emotional impact. This is a slightly softer, more obviously traumatised Haymitch than the film iteration, which works here nicely. Euan Garrett is what you would expect from Peeta, given that the story is led by Katniss, and he doesn’t really get a chance to shine. Still, he makes the role his own, delivering a tender yet less needy performance that convinces both the object of his desires and the audience of his love. However, Mia Carragher, of course, steals the show as Katniss. The script means that she doesn’t get to really run with the character until the end of act one, but when she does, it’s a stunning portrayal. Her Katniss is slightly less hard-faced, but still gritty enough to be believable, whilst also displaying an emotional vulnerability in the scenes with Rue and Prim. There’s also a slightly wistful feeling that she would also have more to give did the timing allowed for it.
Overall, this production is unfortunately a real shame. Whilst it is still an enjoyable standalone show, it is almost impossible to overlook the clunky choices made both technically and artistically that sadly spoil what looked set to be an incredible story translated onto the stage. This is regrettably less ‘girl on fire’ and more child with a sparkler.
Playing at the Troubadour Canary Wharf until October 2026
★ ★ ★
