Kym Marsh and Lisa Faulkner Lead Single White Female at Bath
kym marsh and Lisa Faulkner headlined Single White Female at Theatre Royal Bath, where the stage adaptation ran from May 19-23. The production put Rebecca Reid’s version of the 1990s film in front of audiences across five days, with additional 2.30pm matinees on Wednesday and Saturday.
Theatre Royal Bath Run
Eight performances anchored the engagement, with evening shows at 7.30pm and two daytime slots added into the schedule. That gave the production a broader reach than a straight evening-only run, and it also signaled confidence in the pairing of Marsh and Faulkner as the draw.
Gordon Greenberg directed the piece, which kept the adaptation tied to the original film’s setup while moving it onto the stage. Allie has left her addict husband Sam, played by Jonny McGarrity, and moved into a flat with her 15-year-old daughter Bella, played by Amy Snudden.
Reid’s Stage Adaptation
Rebecca Reid’s script introduces the practical pressure point early: Allie takes on a lodger to help with the bills. Graham, played by Andro, becomes part of that arrangement, pushing the story into the domestic tension that drives the production once the exposition clears.
The review described the first 10 minutes as heavy on setup before the drama picked up, which makes the central pacing problem clear as well as the appeal of the final stretch. Once the piece settles, the writing calls it a “dark, delicious delight,” and that is where the stage version seems to find its strongest footing.
Marsh and Faulkner
The headline judgment was simple: “Kym Marsh and Lisa Faulkner are outstanding.” In practical terms, that puts the cast at the center of the production’s value, with their performances carrying a show that depends on the relationship between Hedy and Allie more than on nostalgia for the film.
That balance matters because the adaptation is not selling spectacle; it is selling two performances inside a compact West End-style thriller format. The review’s recommendation — “a cracking night of emotion” — points to a production that pays off best for audiences who want a tightly played two-hander rather than a broad reinvention of the story.
For anyone who missed the May 19-23 run, the useful detail is the schedule itself: the Bath engagement offered both 7.30pm evenings and 2.30pm matinees on Wednesday and Saturday, so the production was built for repeated access rather than a single premium-night audience. The strongest evidence from the review is that Marsh and Faulkner were the reason to go.
