This new stage version condenses the first book and film into a fast-moving retelling of Katniss’s journey from District 12 to the arena. The outline of the story is familiar, and the adaptation keeps most major plot points intact while trimming smaller details to suit the stage. The production takes place inside a purpose-built 1,200-seat theatre in Canary Wharf, designed specifically with multi-level platforms, large overhead rigging and a central circular space that can function as the arena. This scale is noticeable immediately and sets the tone for how physical and immersive the show becomes.
Katniss is exceptionally well cast. She captures the character’s guardedness and determination, looks exactly right for the role, and importantly brings her own interpretation rather than trying to imitate Jennifer Lawrence. Her narration runs throughout the show and helps maintain her perspective, even if occasionally it explains more than it needs to.
Peeta’s emotional approach works, though the American accent is inconsistent at times. Haymitch leans very heavily into the drunken mentor angle – occasionally too much, which slightly blunts some of his sharper moments. Caesar Flickerman and Effie are both strong, each managing to bring their Capitol exaggeration without losing clarity. Not all the tributes appear (only seven of the twelve pairs are represented), but those included are distinct and effective.
The staging is the production’s standout feature. The circular stage is used constantly: platforms rise and lower, performers move on vertical surfaces using harnesses, and the audience is physically positioned around the action, which reinforces the idea of watching the Games unfold.
The lighting design works well with the space. The show uses smoke, sharp spotlights, and quick transitions to shift between District 12, the Capitol, and the arena. President Snow appears on screens above the stage, which emphasises his distance and power. Some moments are deliberately overwhelming visually – the floating chariots, for example – but the production generally balances the spectacle with clarity.
A few theatrical additions (brief singing or dance elements) feel slightly unnecessary, but they fit with the Capitol’s exaggerated sense of display. The music, overall, supports the tone without dominating. It lifts the Capitol scenes and transitions, but mainly acts as reinforcement rather than a feature in itself.
Act 2 moves decisively into the arena, and the shift works well. The combat is convincingly executed – knife-throwing, arrow shots, and general movement are timed carefully. The vertical fights and wall-running sequences make good use of the theatre’s design and add a sense of unpredictability. Katniss does not wear her expected black arena outfit here, which was a slight shame, but the overall physical atmosphere of the arena is still strong.
This production is less a traditional play and more a full-scale experience. The purpose-built theatre, the constant movement, and the inventive staging techniques make it highly engaging, especially for fans of the books or films. There are small uneven spots – the reaping scene feels slightly underpopulated, and some narration could be trimmed – but the overall effect is impressive. The production value is high, the staging is imaginative, and the story is told in a way that is both recognisable and newly dynamic.
A successful and ambitious adaptation that delivers exactly what it promises.
Booking until October 2026 at Troubadour Canary Wharf Theatre