Often the most compelling stories are the ones steeped in realism, where one can imagine the events that unfold really happening, and given the real life inspiration for The Girl on the Train, you would expect to be thoroughly gripped and moved by its content, especially in its themes of turbulent relationships, alcoholism, and domestic abuse. What was clear in this production though was that director Loveday Ingram missed the mark, as it very much felt like it was holding back in how it tackled these issues.
The Girl on the Train is, for the most part, a journey of one woman through the depths of despair, as she struggles with her divorce-fuelled alcoholism and subsequent unemployment, whilst also becoming embroiled in a missing person’s investigation, in which she has to try and remember the details of the day her ex-husband’s lover Megan disappeared, unwittingly becoming a key witness in the process.
It has the hallmarks of a great thriller, unfortunately for the most part, the narrative, though fairly clear and concise in its writing, felt a touch laborious in its execution, this in spite of some terrific scene transitions, featuring Dan Light’s inspired video projections, coupled with brilliantly jarring sound design by Elizabeth Purnell.
Acting performances for the most part were solid yet unspectacular, although a couple were a little less convincing than others. The major standout was Natalie Dunne as Megan, whose delivery of her second act flashback monologue was absolutely superb, and the audience hung on every word. Giovanna Fletcher was a smidgen monotonous in her portrayal of Rachel, but certainly threw herself into the role, and played off her co-stars very well indeed.
The biggest disappointment though was the climactic scene that comprised a speeding train, a half-hearted black out, and some fake foliage; this scene was executed with all the smoothness of a brick in a washing machine, coming across as comical more than anything, and severely puncturing the drama of the moment. This is a particular shame, because the overall narrative tension, though arduous at times, had been pretty well built throughout, especially in the second act.
With the right direction and a stronger acting choices, this is a play that could be a huge hit, as it directly and fearlessly addresses real issues that affect millions every day. Ingram’s vision, however, is uneven, and for the most part feels like it needs to push the boundaries far more to really help these overriding themes hit home, as it felt like it hopped off before the train could make it into the station.
The Girl on the Train continues performances at The Lowry until 15th February before continuing on its UK tour.
★★★☆☆ (3*)
Gifted tickets in return for an honest review | Photography by Pamela Raith
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