‘Single White Female’ is an intense psychological thriller, adapted by Rebecca Reid from the iconic 1992 film under the same name, but with a modern twist for its 2026 audience. The script takes many creative liberties in updating the story from the source material, but generally does so fluidly, despite the occasional already-outdated reference and odd pacing of the end of the second act.
The play follows Allie and her teenage child Bella, as they navigate life in a skyscraper apartment. Allie’s ex-husband, Sam, tells her his new fiancée is pregnant and cannot afford to support them, so Graham (Allie’s coworker and best friend) encourages her to look for a roommate. Online they quickly find Hedy. Hedy’s relationship grows with both Allie and Bella, but things take a turn for the worst, when Hedy gets a little too close for comfort.
Director Gordon Greenberg’s effective use of the relatively small space and ability to represent dynamics between characters through visually appealing staging. Kaitlin Howard’s fight and intimacy coordination was polished, with many convincing scenes.
Jason Taylor’s lighting design throughout the show was definitely the standout technical element for me. I was particularly thrilled by the movie-screen-like border that masked blackouts effortlessly with flashing displays, and shone with different hues depending on the onstage themes.
The set design was safe in Morgan Large’s hands. It wasn’t overwhelmingly technical and other than the odd prop, nothing moved or changed. What kept it interesting were the pyrotechnics involved in some of the scenes, as well as the window in the background that expertly showed time passing. The ambiguity of the baby being lit up above the stage was also effective, specifically during the first act, but became predictable.
Max Pappenheim’s sound design was interesting. I found myself far more engrossed in the sound design while actors were onstage, with the ambient, foreboding noise during the second act being a highlight. However, Olivia Rodrigo’s voice blasting louder during the transitional scenes than any of the onstage mics during the performance was strange.
The wig designs (by Suzy Barrett) and costume designs (supervised by Tracy Stiles) were strong, with the neutrality of Allie’s pieces contrasting the darker, bolder pieces worn by Hedy in the first half. It certainly aided in selling Hedy’s transformation into Allie’s lookalike in the second act; it’s a distinct change without appearing too misplaced or inorganic. My only critique is that wigs occasionally obscured the actress’ faces.
Kym Marsh as Hedy was truly compelling. Her tone indicated a darker theme throughout, without giving too much away too quickly. The end of Act 1 was the pinnacle of her performance, in my opinion, as it showed Marsh’s fabulous range from a quieter moment to pure rage, that certainly got quite a few gasps out of the audience. She navigated anger within the second act to a good standard. Notably, Marsh’s ability to reflect Hedy and Bella’s relationship was flawless.
Lisa Faulkner as Allie performed naturally and sold the role of the overworked single mother. Her comedic timing during the first act was palpable and not once did Allie feel like a character. Her performance only faltered during the reveal scene, where her silent shock came off as indifference, but otherwise character choices felt well-placed throughout. Faulkner’s ability to “play stupid” without it coming off as off-putting is genuinely commendable.
Andro did a solid job as Graham. Andro’s friendship with Faulkner was believable, however his American accent felt inauthentic. It was also amusing to see Graham “resurrect” after being shot, after it was implied a relatively large amount of time had passed. I enjoyed their bubbly energy, and they successfully presented Graham as the only competent character within the story: the more sombre moments were very effective.
Jonny McGarrity did a splendid job as Sam. He played into the concerned absent father role so fantastically, I found myself almost rooting for him. His performance was most effective alongside Marsh, where the lack of chemistry between the characters assisted the storytelling so well. His performance in Sam’s murder scene was deeply effective: McGarrity’s ability to play drunk and drugged deserves a gold star.
The standout performer of the night was definitely Amy Snudden as Bella. Despite the character being based on the dog from the original film, her moody personality was incredibly endearing to watch. She expertly represented the vulnerability of an impressionable young girl, and every time she was performing I couldn’t look away. Snudden’s reactions felt so sincere and Bella’s different relationships with the other characters felt so real. Her emotional delivery was unwavering throughout.
‘Single White Female’ is a play I enjoyed consistently. Although there are some potentially unintentionally funny moments, it’s a gripping story with twists and turns that lead to a satisfying conclusion. The actors bowed with such pride at the end, and rightfully so, the show was overall a pleasure to watch.
‘Single White Female’ runs until 28th February at the Sheffield Lyceum, with tickets available at https://www.sheffieldtheatres.co.uk/. The tour then continues until June 2026 with more information available at https://www.atgtickets.com/shows/single-white-female/
Reviewer: Natalia Prucnal
Reviewed: 24th February 2026
North West End UK Rating: