Last night at the beautiful Blackpool Grand Theatre, the world premiere production of Single White Female was brought to life on stage, delivering a stylish evening of psychological drama that gripped the audience from start to finish. Adapted from the 1992 cult thriller of the same name, the stage version feels strikingly current. Rebecca Reid’s script has been cleverly updated and modernised, sharpening the dialogue and reframing themes to resonate with a younger, contemporary audience.
Technology, social image, and the pressures of curated identity subtly weave into the narrative, giving the story a fresh feel while preserving the essence of the original. What begins as an innocent search for companionship soon spirals into a chilling exploration of obsession and emotional fragility. At the heart of the story is Allie (Lisa Faulkner) — outwardly composed, successful, and determined to maintain the comfortable lifestyle she and her daughter have grown accustomed to. Beneath this polished exterior lies a quiet vulnerability. Her decision to advertise for a flatmate, driven by practicality, sets in motion a nightmarish chain of events. Faulkner delivers Allie’s reserved and understated character with quiet competence. The role offers few dramatic outbursts, leaving little for embellishment. While Faulkner portrays the character convincingly, Allie’s inherently muted nature means there are few striking moments for the audience to witness, making her performance subtle but effective.
Into Allie’s carefully curated world steps Hedra, known as Hedy (Kym Marsh) who initially presents as socially awkward, often inserting herself into conversations uninvited before quickly retracting when she senses she has overstepped. From the outset, there is a calculated edge to her behaviour; she subtly begins to undermine Allie’s relationships — with her daughter, her business partner and closest friend Graham, and even her ex-husband Sam. It becomes increasingly apparent that her actions are driven by an ulterior motive, though the audience is left in suspense as to what that motive truly is. Hedy’s emotional volatility and longing for belonging are portrayed by Kym Marsh with conviction, delivering a performance that is both controlled and believable. While the first half of the production feels slow to fully ignite — limiting the early impact of her character’s demise — Marsh still captures the unsettling nuances of Hedy’s transformation. Though perhaps not as mesmerising as her performances in Fatal Attraction or Abigail's Party, this may owe more to the pacing and direction than to her portrayal itself. Overall, she brings depth and presence to the role throughout.
Jonny McGarrity gives a solid performance as ex-husband Sam, particularly in the moments of Hedy’s seduction, which are handled with subtlety and credibility. However, the infamous stiletto scene leans more toward the comical than the terrifying. McGarrity’s Sam rises from the floor with a slightly exaggerated, zombie-like stumble and groan, which drew laughter from the audience rather than gasps of shock. Meanwhile, Andro brings a burst of energy and playful wit as Allie’s friend and neighbour Graham, delivering the play’s funniest lines and injecting modern relevance into Rebecca Reid’s cleverly adapted script. Amy Snudden as Bella brings warmth and innocence to the narrative, a reminder of what is truly at stake as tensions rise. Her presence heightens the emotional stakes, grounding the drama in maternal instinct and protection. For me, Snudden delivered the standout performance of the show. She was completely believable, navigating both innocence and trauma with remarkable subtlety. Snudden helped maintain the pacing, bringing moments of lightness to offset the tension while holding her own during the play’s harrowing final scenes, displaying both emotional depth and resilience.
The set remains static, yet its clever design creates a convincing sense of space. Carefully chosen modern appliances and furnishings subtly reflect the aspirational lifestyle Allie is portrayed to lead. Lighting by Jason Taylor and sound design by Max Pappenheim heighten the sense of unease, building toward moments that genuinely shock without ever feeling gratuitous.
Dark and intelligent, Single White Female at the Blackpool Grand Theatre is a theatrical experience that brings this classic psychological thriller to the stage. A must-see for fans of suspenseful drama.
Production Run - Thursday 19th to Saturday 21st February 2026
Reviewed: Jen O’Beirne
On:18th February 2026
