Stage Adaptation of Hunger Games Receives Mixed Critical Reception

Mia Carragher portrays Katniss Everdeen, a role made famous by Jennifer Lawrence in the cinematic series

In London’s Canary Wharf district, typically associated with financial institutions rather than theatrical spectacle, The Hunger Games: On Stage has recreated the world of Panem within a specially constructed 1,200-seat theater arena.

The production adapts Suzanne Collins’ bestselling dystopian novels, previously transformed into a film series featuring Jennifer Lawrence and Josh Hutcherson, where adolescents are chosen for televised combat to the death.

The £26 million Troubadour Canary Wharf Theatre features arena-style seating arranging audiences in various “districts,” designed to accommodate extensive visual effects, immersive projections, and striking aerial performances.

During one sequence, Katniss, performed by Mia Carragher, and Peeta, played by Euan Garrett, soar above the stage in a flaming chariot.

While reviewers, including The Stage, commended the production’s scale and technical achievements, some questioned whether the emotional depth matched the visual spectacle.

A two-star Financial Times evaluation described the show as visually dynamic but lacking “emotional resonance.”

“There’s minimal emotional impact—we witness children dying, which should affect us profoundly, but it doesn’t,” Sarah Hemming wrote.

Some critics questioned the chemistry between Carragher and Garrett

However, The Stage’s Holly O’Mahony characterized the production as “ambitious and breathtaking.

Her four-star review noted “numerous elements to satisfy franchise enthusiasts, with comprehensive utilization of the performance space.”

The Independent’s three-star assessment praised Carragher for her athletic and impressive theatrical debut.

Alice Saville agreed the production contains “all anticipated visual and auditory effects—yet misses the essence of her narrative.”

A two-star Times review by Clive Davis acknowledged the arena’s impressive appearance but noted the performance “has difficulty generating sufficient spectacle to warrant the substantial ticket costs.”

The cast, including newcomer Carragher, daughter of former Liverpool footballer Jamie Carragher, received praise for their acting.

Davis described her as an “energetic central presence” while “Garrett evokes audience empathy.”

The Guardian’s three-star review from Arifa Akbar stated the show “prioritizes spectacle over emotional engagement,” adding: “The adaptation’s pacing diminishes the narrative’s inherent dread.”

But the Telegraph’s Claire Alfree termed the production a “disappointingly poor interpretation” of the young adult books.

Her two-star review suggested director Matthew Dunster, who also directed productions including 2:22 - A Ghost Story, failed to “reconceive and refresh the source material.”

The play remains faithful to the literary works, and producer Tristan Baker emphasized maintaining original plotlines while incorporating “numerous hidden references and surprises for familiar audiences.”

The production has earned praise for its impressive physical sequences and visual elements

Garrett, portraying Peeta, told the BBC the performance should “stand independently” from the books as “it represents its own creative interpretation.”

He added that Collins recently attended a rehearsal and “expressed great appreciation.”

“Receiving her endorsement and approval was genuinely honorific,” he stated.

Performances have refined since previews commenced in mid-October, when initial shows were described as “disorganized” and “confusing” by some attendees, who reported extended queues, delays, and visible evidence of incomplete venue preparations.

Producer Oliver Royds informed the BBC that “large-scale productions invariably experience initial challenges” and the team “felt some disappointment about not achieving perfection immediately.”

“We encountered difficulties during the opening performances,” he acknowledged, noting these issues have since been resolved, with affected attendees offered return invitations.

Discussing the construction process, Royds described it as “extreme DIY renovation” requiring 42,000 steel components crane-lifted into the theater, involving thousands of collaborators.

Carragher, 21, told the BBC the production presents considerable technical complexity.

“Multiple stage sections require precise coordination,” she explained.

“Incorrect placement affects subsequent scenes. You must consistently think several steps ahead.”

Garrett added that emotional performance intensity must coincide with technical accuracy.

“You’re delivering emotionally charged scenes while remembering technical requirements and prop placement—making this seamless represents the challenge.”

The physical demands are substantial—including continuous combat sequences, rapid stage crossings, and precisely timed stunts.

“We must develop complete mutual trust that co-performers will move at the last possible moment,” Carragher notes.

“The action must appear authentic because safety-conscious execution reduces visual impact.”