I must confess from the outset – I’ve never read the 1990 novel by John Lutz – described in most quarters as a ‘psychological thriller’ – nor have I seen the Columbia Pictures 1992 film adaptation that starred Bridgit Fonda and Jennifer Jason Leigh. A gap in my education which means that this stage adaptation of Single White Female by Rebecca Reid will serve as my introduction to the story. It tells the tale of two women: Allie, who is attempting to rebuild her life after a painful breakup, and Hedy, a quiet and seemingly vulnerable woman who responds to Allie’s ad for a flat mate. At first, their relationship offers companionship and comfort, but warning signs soon emerge. As the two women grow closer, Hedy becomes increasingly dependent on Allie, mirroring her appearance, habits, and relationships. What seemingly begins as admiration quickly begins to look like obsession.
Lisa Faulkner is Allie, the woman trying to escape her broken past and start afresh in a new apartment. Faulkner plays Allie with a level of emotional depth that makes her character’s journey all the more compelling. From the very beginning, her portrayal of Allie’s vulnerability and inner conflict is incredibly engaging. We feel her struggle between wanting to trust her new roommate and the creeping suspicion that something is off kilter. Faulkner’s performance is nuanced, capturing Allie’s oscillating emotional states perfectly – one moment desperate for friendship, the next wary of it.
Opposite her, Kym Marsh plays Hedy, the mysterious new roommate whose seemingly sweet and innocent demeanour quickly morphs into something much darker. Marsh’s portrayal of Hedy is masterful; she balances fragility with a creeping sense of menace. There’s an eerie stillness to her performance that heightens the unsettling atmosphere, and her obsession is chilling to watch. The chemistry between the two actors is electric, their interactions constantly shifting between solidarity and a sense of mounting danger.
Supporting them is Jonny McGarrity, who plays Sam, Allie’s ex partner of ill repute. McGarrity gives the character an everyman energy and is oddly likeable and light spirited, given all that we are told about him. This at least gives the audience a stark contrast to the intensity of the central conflict. It would be great to see more of him – he feels a tiny bit underdrawn here.
Andro gives Graham, Allie’s supportive neighbour and business partner, a much needed sense of warmth and humanity, although he finds himself on the wrong side of Hedy with devastating consequences.
Amy Snudden’s Bella is a fantastic depiction of a teenager in angst, easily groomed by Hedy, giving depth to the story as well as making it very relevant in the social media age.
Gordon Greenberg crafts an atmosphere that is at once sleek and suffocating. His direction is tight and purposeful, allowing the audience to feel the tension building, step by step. The pacing of the show is excellent; there are no moments of wasted time, and the suspense never dips.
The set design by Morgan Large is minimalist yet incredibly effective. It’s a space that feels sterile, and the rattling lift and flickering lights serve to highlight the uneasiness within the place. The lighting design by Jason Taylor is similarly impactful, with clever contrasts between light and shadow that amplify the emotional and psychological tension. Taylor’s lighting works hand in hand with the sound design by Max Pappenheim, whose eerie soundscapes punctuate key moments, increasing the tension with every scene change.
In the end, Single White Female lingers long after the curtain falls because it taps into a very human fear: the terror of being slowly erased. This production sustains its psychological grip. The performances, delivered with assurance and emotional honesty, ensure that the story remains grounded in recognisable vulnerability. Supported by precise direction and an atmospheric design that tightens around us like a vice, the play becomes more than a thriller – it is a study of loneliness, desire, and the dangerous need to belong.
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