We were lucky enough to catch The Girl on the Train at 
The Story
Adapted from Paula Hawkins’ internationally bestselling novel, The Girl on the Train centres on Rachel Watson – a woman struggling with the loss of her marriage, her identity, and her sobriety. Each day, she rides the train past the house she once lived in with her ex-husband, Tom. Just a few doors down live a couple who seem to have the life she lost – until the woman, Megan Hipwell, suddenly disappears.
As Rachel becomes entangled in the investigation, the lines between truth, memory, and fantasy begin to blur. Is Rachel a reliable witness? Is she helping to solve the case – or making it worse? With twists at every turn, this is a story that keeps you guessing right until the final moments.
Whether you know the book or are going in blind, this production is a tightly wound psychological thriller that draws you in and doesn’t let go.
Writing, Direction & Design
Rachel Wagstaff and Duncan Abel’s stage adaptation is taut and economical, cutting to the core of the novel while still capturing its emotional complexity and tension. The direction is sharp, with slick scene transitions that glide between past and present, often catching you off guard – a clever nod to Rachel’s confused and fragmented state of mind.
Visually and aurally, this show leans hard into atmosphere – and it pays off. The lighting design creates moments of stark intensity and subtle eeriness, while the sound design adds a pulsing undercurrent of unease. The set, cleverly versatile, shifts fluidly between locations with minimal fuss but maximum effect. All these elements work in harmony to pull you deep into Rachel’s world of half-truths and unreliable memories.
A Strong Cast Across the Board
Laura Whitmore is sensational as Rachel Watson. Vulnerable, volatile and totally believable, she commands the stage in every scene. There’s a quiet tragedy in her portrayal – one that makes Rachel’s spiral feel heartbreakingly real. It’s a physically and emotionally demanding role, and Whitmore delivers a performance that’s both raw and nuanced.
Samuel Collings gives a deeply affecting performance as Scott Hipwell, the husband of the missing Megan. He balances aggression and grief with a simmering sense of instability that keeps you constantly questioning his motives. Freya Parks, as Megan, delivers a compelling portrayal of a woman haunted by her past. Her scenes are both powerful and unsettling, offering a poignant look beneath the surface of a character often seen only through the lens of others.
Ed Harrison’s Tom Watson is every bit as charismatic and complex as he needs to be. His performance keeps the audience guessing throughout – calm and supportive one moment, manipulative the next. The dynamic between Harrison and Whitmore is electric, with tension that builds slowly before finally snapping.
The supporting cast all add weight to the drama, each performance feeding into the psychological puzzle. Whether it’s the probing questions of the detective, the wary glances from Anna (Rachel’s replacement), the quietly unsettling performance of Dr. Kamal Abdic (Megan's therapist), or the flashbacks that slowly piece the truth together, every role feels considered and impactful.
Final Thoughts
As someone who typically loves a feel-good musical, this was a different kind of theatre experience for me – but one I thoroughly enjoyed. The Girl on the Train is intense, emotionally charged, and suspenseful in all the right places. After a long day, I’ll admit I was exhausted by the end – but that’s testament to how completely absorbing the show was. It’s not just a play; it’s an experience.
If you enjoy psychological thrillers, expertly layered performances, and edge-of-your-seat storytelling, this is one not to miss. And even if it’s not usually ‘your thing’, go with an open mind – like me, you might find yourself wanting to watch it all over again.
The Girl on the Train runs at
