The production centres on Clarice Starling, a young FBI trainee who finds herself drawn into a deeply unsettling investigation. With a killer still at large and another woman missing, Clarice is tasked with seeking the help of someone uniquely qualified to understand a murderer’s mind - Hannibal Lecter, a highly intelligent psychiatrist who is himself a convicted killer. What begins as an attempt to extract information from Lecter soon becomes something far more psychologically dangerous, as the balance between interviewer and subject starts to shift.

What struck me immediately was the staging. It was incredible in its simplicity: black brick walls, steel staircase, bridge and barred doors created a stark, industrial world that could be transformed almost instantly.

The lighting was particularly clever. It was relatively simple, but incredibly effective in changing the atmosphere and location in an instant. A subtle wash of red transported us into a drinking club, while stark, almost clinical white light immediately returned us to the prison environment. The production understood that you don’t need elaborate scenery to create a completely different world.

The use of props was equally inventive. Two metal filing cabinets appeared on stage and, suddenly, we were in an office. Wall drawers transformed the space into a science lab, while other small additions took us to an apartment or a morgue. It was wonderfully economical staging but never felt lacking.

The production also used sound and music sparingly, which made it all the more effective. At key moments, the musical landscape created an extraordinary sense of suspense and tension, building an ominous atmosphere that genuinely had me feeling fear in the pit of my stomach. Projections and carefully used stage smoke added another layer to the eerie, unsettling world.

Hannibal’s cell was particularly chilling. A glass-enclosed cube slid on and off stage, creating a cold, clinical room illuminated by striking white light from above, leaving nowhere for anything to hide. Then the cube rotated and became an entirely different scene. A built-in steel ladder on its side opened up yet another playing space on top, allowing two pieces of action to happen simultaneously. It was an ingenious piece of stage design and one of the most memorable aspects of the production.

The choreography was also impressively precise. Hannibal’s attack on the guard was particularly effective - brutal, believable and executed with real precision. There was a sense throughout that every movement had been carefully considered.

The direction was excellent. There was clearly enormous attention to detail, with everything executed with precision and purpose. The result was a production that felt slick, controlled and remarkably well put together.

The story itself is brutal, psychologically captivating and deeply disturbing. It draws you into a world that is uncomfortable to inhabit, but difficult to look away from. By the time I left the theatre, I was still thinking about it.

For me, the one significant weakness was Mollie Gallagher’s performance as Clarice. I felt she was at times slightly wooden, but more importantly, her diction made some of her dialogue difficult to follow. Her use of an American Southern drawl, combined with the speed of her delivery, meant that there were moments when words were lost completely, and I found myself having to work to understand what was being said. Unfortunately, this affected my ability to follow parts of the narrative.

This stood out particularly because the rest of the cast were so clear and crisp in their delivery. Their pace, vocal clarity and confidence made the contrast noticeable. I found myself wondering why more attention hadn’t been given to ensuring that every word could be heard - particularly in a play where the dialogue and psychological exchanges are so important.

John Partridge as Hannibal was intriguing and convincing. He brought a fascinating presence to the character and made Hannibal believable without relying solely on the obvious menace of the role. I did, however, feel that the relationship between Hannibal and Clarice didn’t quite develop in the way I imagine was intended.

Despite those reservations, this was an inventive, atmospheric and genuinely memorable production. The creative team and actors created an extraordinary theatrical experience from relatively simple ingredients, proving just how powerful clever staging, lighting, sound and choreography can be.

And I’m very glad I went.

For someone who had never seen the film and wasn’t particularly drawn to psychological horror, I came away thoroughly impressed. It was dark, disturbing, clever and beautifully staged - and, ultimately, a very memorable evening at the theatre. Definitely one worth seeing.

You can get tickets from the MK Box Office