Single White Female – Opera House

Single White Female at the Opera House Manchester brings a glossy and unsettling slice of 90s psychological thriller into the modern theatrical spotlight. Adapted from the original 1992 film by Rebecca Reid and directed by Gordon Greenberg, this stage version walks a careful line between homage and reinvention.

The plot centres on Allie, a recently separated single mother attempting to rebuild her life after the breakdown of her marriage. Advertising for a lodger, she welcomes the seemingly friendly and helpful Hedy into her home. What begins as a tentative friendship soon spirals into obsession as Hedy gradually insinuates herself into every aspect of Allie’s life, blurring identities, manipulating relationships/friendships and threatening the fragile stability Allie has worked so hard to rebuild.

Kym Marsh takes on the role of Hedy, delivering one of the most compelling performances of the evening. Marsh, widely recognised for her long-running role as Michelle Connor in Coronation Street, her success with the pop group Hear’Say, and more recent stage work including Fatal Attraction, Greatest Days, 101 Dalmatians and Abigail’s Party, brings both authority and emotional depth to the part. Her Hedy is not simply a stalker figure, but a female crushed by loss. Marsh skilfully roots the character’s disturbing behaviour in grief and unresolved trauma, making her obsession with Allie and her daughter Bella unsettling yet tragically comprehensible. Her mimicry: wearing Allie’s clothes, orchestrating situations and manipulating those around her is chillingly convincing.

Lisa Faulkner’s Allie provides a grounded and empathetic counterbalance. Known for her television roles in Spooks, Holby City and Burn It, Faulkner brings warmth and emotional honesty to a woman who is resilient yet deeply scarred. Her Allie is fiercely protective of her child and determined to maintain control over a life once destabilised by addiction and betrayal. Faulkner captures the tension between vulnerability and self-preservation with quiet authority.

Andro plays Graham, Allie’s flamboyant, openly gay best friend, colleague and her most reliable source of support. Full of colour, humour and warmth, Graham is instinctively protective and emotionally astute, offering both levity and fierce loyalty. His concern for Allie’s wellbeing is sincere, and his growing unease about Hedy comes not from judgement but from genuine care, making him a true friend and emotional anchor within the narrative.

Jonny McGarrity’s Sam is less a traditional antagonist and more a blustering, pompous presence. As Allie’s ex-husband, his primary motivation is a desire to see his daughter Bella, a wish complicated by the strict boundaries Allie has imposed following his past struggles with alcoholism. McGarrity presents Sam as frustrating yet recognisably human, a man whose intentions are not malicious, but whose lack of self-awareness consistently fuels conflict. Amy Snudden brings sensitivity and naturalism to the role of Bella, her innocence raising the emotional stakes and intensifying Hedy’s fixation.

Having watched the original film over three decades ago, I remembered little of its specifics, but the intense dramatic tension of its psychological thriller moments remained. This adaptation stays close to elements of the original script while injecting modern dialogue and contemporary themes, making it feel relevant to a 21st-century audience.

Despite the naturalistic setting and sincere performances, the outbursts of violence that once drew gasps of horror from cinemagoers instead elicited guffaws from tonight’s audience. Translating a story so dependent on tight framing and tension-inducing close-ups to the proscenium arch stage, where the audience is inevitably distanced from the action, exposes some of the inherent absurdity of the plot. What once shocked now occasionally amuses when laid bare on a large stage.

Nevertheless, the production builds intrigue effectively, and while its original shocks may no longer land with the same force, the enjoyment in the Opera House was unmistakable. The staging is slick and visually engaging, maintaining momentum and atmosphere even during scene changes and drawing the audience into the unfolding drama.

Ultimately, Single White Female may lose some of its cinematic menace in translation, but it gains energy, clarity and a knowing sense of theatricality. For all the sniggers at its most extreme moments, this 21st-century update of a 90s sleeper hit was thoroughly enjoyed, working best when embraced as a blank canvas: stylish, provocative and unapologetically entertaining.

The show runs at the Opera House Manchester from Tuesday 10th – Saturday 14th February 2026, with multiple evening and matinée performances available and tickets on sale now through ATG and official box office channels. After Manchester the production continues its UK tour – including dates at Blackpool, Woking, Cambridge, Richmond, Milton Keynes, Birmingham, Stoke-on-Trent and Glasgow into June 2026, so there are plenty of chances to catch it beyond this engagement. 

Don’t miss this gripping night of theatre that proves some obsessions are best experienced from the safety of a theatre seat and makes house sharing look positively terrifying…..

Reviewer: Katie Leicester

Reviewed: 10^th February 2026

North West End UK Star Rating: