Tuesday 3rd February 2026 at the Grand Theatre and Opera House, York
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When it comes to stage adaptations of film classics, there are many to pick from these days – it’s a popular time for the reboot, the re-write and the jukebox treatment. What I really like about this adaptation from Rebecca Reid is the way it really does opt for a re-write: same set-up, with one single woman fixating on the life of another – with disastrous consequences – but the details have all been changed and updated, making for an engaging production which isn’t just echoing what went before.
In this version, directed by Gordon Greenberg, we are very much in 2026, with much of the plot hinging on technology and modern dynamics of family, friendship and work. There’s familiarity to this, rather then escapism, and while that does lend itself to enjoyment of the show in many ways, it also lets some awkward laughter seep into proceedings from an audience that didn’t seem to be much on side for the dramatic thriller moments of the second act. In truth there are a few surprising moments that feel random enough to invite titters, which could do with more development, yes, but for the most part, the story and cast stand on pretty firm ground.
Lisa Faulkner is our unwitting victim in this saga of jealousy and obsession. Very much the well-meaning mum to a typically dramatic teenager, she’s likeable enough and naive enough to convince us that she’s just too good-natured to spot the red flags on display. Kym Marsh is back in villain territory, a role she nailed in the recent tour of 101 Dalmations – this time more potty-mouthed and with a violent streak, naturally! It’s another great performance too – nicely harbouring a darker edge beneath a warm, salt-of-the-earth persona.
Amy Snudden is brilliant at Bella, the angst-ridden teen navigating divorce, bullying and typical tensions with the family. The switch-up from eye-rolling stropstress to bewildered little girl holds much of the show’s tension in fact. The men-folk are more fleeting in this story, naturally, but well-played by Andro as Graham, the protective bestie and business partner, and Jonny McGarrity as the slimy ex-husband who gets far more than he bargained for.
It’s a good plot inspired by a great classic film, and it’s a good cast carrying it. There’s just something getting in the way of the tension the show is seeking, and it’s clear this audience was finding the high drama of the second act more comical than edge-of-seat gripping. Perhaps it’s pace or chronology of the final moments, but there’s some tweaking needed to make this a convincing thriller rather than simply an entertaining drama.
Single White Female is at the Grand Opera House, York until February 7th 2026 – more information and tickets can be found here.
Always Time For Theatre 
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