Review: The Hunger Games: On Stage (Troubadour Canary Wharf Theatre)

Review by Daz Gale

⭐️⭐️

Few shows this year have been as hotly anticipated as the long-awaited stage premiere of The Hunger Games. A huge franchise in itself, with the latest book breaking records and being adapted into a film, the sixth in the series, for release next year, the stage version has been touted for some time, with the original announcement in 2016 not coming to fruition. However, tributes need wait no longer as the world premiere stage production is now open for business at the brand-new, purpose-built Troubadour Canary Wharf Theatre. The question is, would it have been worth the wait and be crowned victor when it comes to new openings this year, or would it leave me hungry for more?

Based on the first novel in the series by Suzanne Collins, The Hunger Games is set in a dystopian future in a country called Panem. After a failed rebellion, the ruthless Capitol punishes the 12 remaining Districts in the country by drawing two tributes from each to compete in the annual Hunger Games - a fight to the death, where only one will survive and be declared the victor. For the 74th Hunger Games, it is Katniss Everdeen and Peeta Mellark who are selected for District 12 as we watch them be plunged from their everyday life into the harsh unknown of this world and battle for survival, all the while playing the publicity game to help stay alive and navigate their own feelings for each other. As defiance and rebellion risk sparking up again, would the odds be in their favour this time?

I have to confess to being a huge fan of The Hunger Games myself. After seeing the first film in the cinema, I immediately went out and bought the original trilogy of books, and I haven’t looked back since then. I always think it’s unfair to compare a stage production to the book or movie of anything, though it can often be inevitable - it’s certainly difficult not to make comparisons if you are familiar (or even obsessed, in my case) with the source material. In this review, I’m going to try to look at the show from varying perspectives - that as a standalone piece of work that shouldn’t be compared and judged solely on its own merits, but my personal knowledge and feelings for the story, this world and these characters will be clear to see at the same time.

The stage adaptation of The Hunger Games has been penned by Conor McPherson, though some of his choices fail to catch fire. Having Katniss narrate the play seems like an obvious choice and is in keeping with the book, but the way it is done feels quite unnatural, with some clunky dialogue hammering in what is happening. Adapting a packed book in a little over two hours of stage time can’t be an easy task, but not everything flows as seamlessly as it should, and there is an overarching feeling of this production feeling cold and disconnected. You could argue this reflects the dystopian future in the story, but there needs to be a sense of emotion alongside it, and these moments fail to carry their necessary weight, having the tendency to fall flat more often than not.

Though I have been a great admirer of Matthew Dunster’s direction in many other productions, I wasn’t convinced his vision for The Hunger Games was the most compatible with what I felt was the biggest problem of the production by far. There are some strange choices to be found here - from the way characters carry themselves to the visualisation and realisation of the world of Panem to the events that transpire. The problem is that there was no cohesiveness to this, with a tone that went all over the place, feeling incredibly jarring. While there needs to be a noticeable contrast between the Districts and the Capitol, I was perplexed at the choices made in portraying them, veering dangerously close to pantomime territory and detracting from the scale and quality you would expect from this.

An ill-advised musical number in Act One is the best example of conflicting visions that don’t land, and I'm quite surprised this number wasn't cut prior to press night. As a fan of the franchise, I went to the first preview and hoped some of the more obvious failings would be remedied before press night; however, this was not to be. A bizarre sequence involving Katniss’ stylists feels like something out of a fever dream, accompanied by incidental music you would expect to hear in a particularly annoying lift. A rather kitsch interview segment comes complete with audience prompts for “laughter” and “applause” - I get what they were going for, but it cheapens the show considerably, again feeling like something you would see in a panto rather than the dystopian Panem.

What I will say is it is clear a lot of work has been done on the show since the first preview, and that is exactly what previews are for. The result is a pacy and far more enjoyable show than it could have been. However, its biggest missteps are buried deep in the DNA of this production, and with writing and direction that has put them so far on the wrong path, it is nearly impossible to pull it back. Still, though, it is commendable it is in as good shape as it is given where it was several weeks ago.

The design elements are another inconsistency of the show. Though the space has been beautifully designed by Miriam Buether to resemble the arena and there are some great set pieces that come out throughout, overall it feels as if something is missing, The video design feels rushed and unfinished in places, never quite matching the aesthetic, even transporting us into the 1980s at some point, strangely for a show set in the future, Costumes and wigs also feel subpar, and I couldn’t help feeling as if the production had run out of money midway through and had to snake some tough cutbacks. The varying quality and success of all these design elements were too noticeable to ignore.

Ian Dickinson’s sound design was a stronger aspect, proving atmospheric and immersing the audience into the setting. Similarly, Lucy Carter’s lighting design was flawless in its execution, always breathtaking to witness, with a particularly inspired touch whenever one of the tributes was killed - though this was somewhat undone by the strange choice to then have this actor stand up and walk off in plain sight, especially given there were multiple trap doors on stage that would have made their deaths impact more. Kev McCurdy’s intricate fight direction also impressed, far more so than the overall movement, with the use of choreography to turn fights into contemporary dances, another of this production’s biggest errors of judgment.

The cast, though all clearly talented in their own right, suffer from the choices they have been given. The result is dialogue that feels stilted throughout, characters that prove far too one-dimensional and a serious lack of emotion consistently. Another disappointing choice was the supremely talented Tamsin Carroll having her otherwise accomplished portrayal of Effie Trinket reduced to what appeared to be a tribute to Moira Rose in Schitt’s Creek. The over-emphasis and unusual way she said her lines must have been a deliberate choice as surely somebody would have clocked the similarity. It’s minor things like this that have been so clearly overlooked that prevent The Hunger Games from reaching its full potential.

Mia Carragher delivers an exquisite performance as Katniss Everdeen, at times feeling as if she’s not just fighting the Capitol and President Snow but the choices that have been given to her for her characterisation. Mirroring Katniss in her defiance, Carragher grows in the role in an increasingly captivating turn, especially as the second Act roars to its climax. Such is the talent of her performance, it almost made me overlook the production choices that were stopping The Hunger Games from soaring like a mockingjay. Euan Garrett similarly impresses as Peeta Mellark, with Joshua Lacey memorable albeit underused as Haymitch Abernathy.

The most recognisable name in the cast is the legendary John Malkovich as President Snow, though he’s not actually there in person - instead, his scenes have been pre-recorded and shown on screen. Though his legendary status can’t be denied, I got the sense he was phoning in this performance as if he wanted to quickly bash his lines out in an advert break of whatever TV show he was watching at the time. The result is a performance that lacks conviction and doesn’t work in the slightest. Furthermore, the choice not to have Snow there in person creates a real disconnect, losing all tension that is integral to his relationship with Katniss. Snow is an ominous presence, and though he is larger-than-life on screen, this production really would have benefited from having an actor performing the role alongside the cast.

There are plenty of ideas to be had in The Hunger Games - some of them land while others fall at the first hurdle. I couldn’t shake the feeling that this may have been a case of “too many cooks” in the sense that all these conflicting ideas were being stitched together in the sense that they fit. It certainly isn’t without its moments of brilliance, be that a particularly good illusion or an impressive performance, but these are almost immediately undone by another strange choice that doesn’t work. It feels as if there is a fantastic show in here somewhere, but it is just missing the spark to turn it into a flame.

Though this is a two-star review, I can’t lie and say I didn’t enjoy myself at The Hunger Games. Though for my personal enjoyment, I was aware of how flawed the show was critically, which is why I felt that this show overall failed to catch fire. This is not the review I wanted to write but nor is this the show I longed to see on stage. Very sadly, The Hunger Games didn’t satisfy my needs and left me feeling disappointingly starved.

The Hunger Games plays at Troubadour Canary Wharf Theatre, now booking until October 2026. Tickets from https://thehungergamesonstage.com/ 

Photos by Johan Persson