The Regent Theatre, Hanley | 26 May 2026
There is something about walking through the doors of the Regent Theatre in Hanley that never loses its thrill. The warmth of the auditorium, the low hum of anticipation from a full house, the rustle of programmes — the magic of live theatre is ever-present here, and last night’s opening night of Single White Female proved once again why this beloved venue holds such a special place in the hearts of the Potteries.
Adapted for the stage by author, journalist and broadcaster Rebecca Reid, this world premiere production is based on the iconic 1992 psychological thriller that starred Bridget Fonda and Jennifer Jason Leigh — a film that lodged itself firmly in the cultural consciousness and, for a generation, made the idea of a flatmate feel genuinely terrifying. Reid’s bold adaptation wastes no time in bringing the story crashing into the present day, and the results are electrifying.
Gone is the Manhattan apartment of the original; in its place, a sleek, contemporary setting that feels entirely of our time. Allie — brought to life with real warmth and quiet vulnerability by understudy Anna Ruben, stepping in for Lisa Faulkner on opening night — is a recently divorced mother, juggling single parenthood with the pressures of launching her own tech start-up. When financial necessity drives her to advertise for a lodger, the charming and seemingly perfect Hedy arrives like a gift. It is, of course, a gift with a very sharp edge.
Kym Marsh is magnetic as Hedy. She leans into the character’s unsettling duality with precision and confidence, giving us a woman who is utterly beguiling one moment and chillingly calculating the next. The gradual unravelling of Hedy’s façade is handled with real craft, and Marsh commands the stage with an authority that keeps the audience gripped. Her chemistry with Ruben is believable and layered — the two performers building a relationship that feels genuine before watching it curdle into something far darker. It is also worth noting that Ruben, stepping into the lead role on opening night, carried the performance with impressive confidence and composure — a hugely assured turn that left one wondering how the audience would have known had they not been told.
What Rebecca Reid has done so cleverly is weave the anxieties of modern life into the fabric of the original story. Social media, the isolation of digital culture, and the desperate human need for belonging all thread through the narrative with a relevance that feels earned rather than forced. The contemporary setting doesn’t diminish the suspense — if anything, it sharpens it. A stiletto heel still glints with menace, but this Hedy is armed with something far more insidious: access to your phone, your apps, your online identity.
Amy Snudden deserves a special mention as Bella, Allie’s teenage daughter — a character written specifically for this adaptation. Her portrayal of adolescent insecurity is touchingly real and provides some of the production’s most emotionally resonant moments.
Director Gordon Greenberg keeps the pacing taut, allowing the tension to build slowly and deliberately, trusting his cast and his audience. Morgan Large’s set and costume design is slick and atmospheric, and Max Pappenheim’s sound design ensures you never quite feel comfortable in your seat — which is precisely the point. The supporting actor playing Graham is Allie’s colourful and dependable friend and colleague, played by Andro, who is believable and warm, pointing out how her ex- husband Sam ( played brilliantly by Jonny Mc Garrity), the recovering addict, is an idiot. Not only did he have a drug addiction, but he also had an eye for the ladies. He is now with his pregnant 22-year-old, with whom he had an affair whilst in rehab.
The Regent’s opening night audience gave the production the reception it deserved: gasps in the right places, a hush that fell over the stalls during its most tense scenes, and a warm and appreciative standing ovation at the curtain call. Single White Female is psychological theatre at its most stylish and satisfying. Don’t miss it.
⭐⭐⭐⭐½
