Review: THE HUNGER GAMES, Troubadour Canary Wharf Theatre
Photo credit: Johan Persson
The Hunger Games lands in a purpose-built theatre in Canary Wharf, and straight away the setting does half the work. Surrounded by glass, wealth and that cold corporate shine, it genuinely feels like stepping into the Capitol before the show even begins. It’s a clever choice of location, and it raises expectations for something sharp, unsettling and unafraid to speak truth.
The production follows the story we all know: Katniss stepping in for her sister, being pulled into the Capitol’s machinery, and thrown into an arena designed for entertainment rather than survival. Even with the familiarity, there’s still a thrill in seeing this world live — especially for anyone who grew up during the original Hunger Games era like this reviewer. Miriam Buether’s stage and set design builds that world with confidence, giving the story a strong visual base to stand on.
Neil Armstrong’s script aims to highlight the parallels between Panem and our real world in 2025, and those ideas do sit under the piece. But they don’t always land as clearly as they could. The overall production feels so polished at times that the grit slips away, softening the tough edges the story needs. Instead of the raw bite of Panem, there are moments where it feels like the show is holding something back.
Matthew Dunster’s direction starts off with real promise. The opening moments make it clear we’re here to watch theatre, not a film, and Mia Carragher’s direct connection with the audience works brilliantly. But as the show continues — with cast members flying in and out and the staging becoming increasingly busy — that clarity and connection slowly fades. For example, the moving seats are a strong idea in theory, adding to the sense of spectacle, but the loud noise they make and the timing of when they shift end up pulling focus. Instead of drawing us deeper into the world, they break the tension and take us out of the piece.
The biggest challenge sits in how violence is shown in the arena. The Hunger Games should hit hard. It should leave a lump in the throat. Instead of the brutality of young people being forced into impossible choices, the production leans into cartwheels, flips and heavily stylised movement. It takes away the danger and emotional weight, and it doesn’t sit comfortably with the truth of this world.
There are standouts, though. Stavros Demetrraki is a major highlight as Caesar Flickerman — electric, funny, layered, and completely in command of the stage. The show lifts every time he appears. Lucy Carter deserves real credit as well; the lighting gives the production a clarity and edge it doesn’t always reach elsewhere.
There’s ambition here, clear style, and some great performances, but the emotional punch isn’t always where it needs to be for The Hunger Games. The purpose-built theatre sets the stage beautifully for a version that could lean right into the darkness of Panem, and this production gets close — but it needs more raw feeling for the arena to truly land. A striking production with bold ideas, but not enough heart to make the fire catch.
*** Three stars
Reviewed by: Casey Arden