Why ‘The Hunger Games’ feels more urgent (and brutal) on stage

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Suzanne Collins’ novel “The Hunger Games,” published in 2008, has become increasingly relevant over time. The story, which features a cruel government forcing children to compete in a deadly annual event, continues to spark new adaptations. The newest version is a lively stage play that will premiere on Wednesday at the Troubadour Canary Wharf Theatre in London.

“The Hunger Games: On Stage” is based on both Suzanne Collins’ original novel – which includes four additional books – and the 2012 film starring Jennifer Lawrence as Katniss Everdeen. Producer Tristan Baker first discussed the idea with Lionsgate seven years ago while exploring another project. Jenefer Brown, a studio executive, suggested a stage adaptation, and Baker believed playwright Conor McPherson would be a good fit, especially since McPherson’s daughter was a fan of the books.

As McPherson explained in an email, Suzanne Collins is a remarkably talented writer. He was captivated by the powerful voice and fast-paced story in ‘The Hunger Games,’ just like many other readers. He believed that by maintaining that same energy and momentum, they could create a truly enjoyable experience for the audience.

As a huge fan of The Hunger Games, I really appreciated how the filmmaker, McPherson, approached the adaptation. He specifically wanted to keep the story told from Katniss’s perspective, and that makes total sense to me. Her voice is such a powerful part of what makes the books so compelling, so letting her narrate the film felt like the right thing to do – it allows us to really connect with her journey and experience everything through her eyes.

Director Matthew Dunster recently explained that the most memorable dystopian novels, and adaptations of them, focus on a deeply personal connection with a single character. He used the example of ‘The Hunger Games,’ noting that their production aims to create a direct connection between Katniss Everdeen and the audience, mirroring the intimate narrative voice of the book.

Adapting the story presented a significant challenge. McPherson explained he envisioned a highly theatrical production, immersing the audience in the main character’s thoughts and feelings. He wanted the show to feel like it emerged from her imagination, inviting the audience to fill in the gaps. He even suggested to the producers they could tell the entire story with just a table and four chairs, emphasizing a minimalist and imaginative approach.

This new production is much more elaborate. The team even constructed a dedicated theater in Canary Wharf for the play, which is scheduled to run through October 2026. According to producer Baker, building a new venue wasn’t part of the original plan. Their initial focus was simply on finding the best way to tell the story on stage.

Since the show features flying effects and lifts beneath the stage, building a new venue proved simpler than adapting an existing West End theater. Baker explained that discussions with the team, including Matthew, and the designers revealed the possibility of creating a completely immersive, in-the-round experience with impressive effects. They ultimately designed the space specifically to suit the world of ‘The Hunger Games,’ even incorporating moving sections of seating.

Troubadour Canary Wharf Theatre is designed like a circular arena. Instead of traditional rows, the audience sits in designated areas – with the stage itself called District 12. Throughout the performance, some seating sections actually move, changing the layout of the theatre and enhancing the emotional impact of each scene.

Dunster explained that it’s powerful to begin a scene with a close connection between two characters, creating a sense of distance for the viewer. But as the characters grow closer, the audience unexpectedly feels drawn into that intimacy as well.

Collins has continued to develop the world of Panem, most recently with the release of “Sunrise on the Reaping” in March. With her approval, McPherson incorporated details from the newer books into the play. This includes giving names to some of the tributes who weren’t named in the original novel, and adding a few new scenes.

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Jamie Harrison and Chris Fisher spoke with The Times about the challenges of adapting the magical world to live performance, including designing wand battles and even creating realistic on-stage effects like nosebleeds.

Baker explained that the story includes subtle and enjoyable references to Easter eggs – hidden details and inside jokes – that weren’t present in the original book or movie.

Matthew Dunster had worked with Danny Baker before, on a play called “2:22 — A Ghost Story.” When Baker asked him to direct this new project, Dunster’s children happened to be reading “The Hunger Games.” After starting the book himself, Dunster felt its themes were particularly relevant to today’s world. He decided he wanted to direct it in a fresh, unconventional style.

As a fan, I loved the idea that the actors playing the tributes weren’t just playing their characters, but also subtly portraying everyone else around them. It made you connect with them as performers, and honestly, it made what happened to them in the Games even more heartbreaking. It wasn’t just about the violence, but about the loss of these young lives and all the potential they had. We really wanted to explore how to make that impact even stronger, and I think we found a way to do it.

Three years ago, the show’s creative team worked with the original cast. This year, when it was time to choose the main actors, Dunster carefully reviewed many performers. They auditioned about 200 dancers, narrowed it down to 50 for fight choreography workshops, and then selected 10 actors for the ensemble – including Mia Carragher, who will play Katniss. Both Collins and Lionsgate approved the final cast choices.

Choosing the right actress for Katniss was incredibly challenging,” Dunster explained. “The book and the planned movie set specific expectations. We searched everywhere. I struggled at first, but our amazing costume designer pointed out that Jennifer Lawrence wasn’t a realistic possibility. That actually helped me broaden my search and think more freely.”

Just two of the actors – Carragher and Euan Garrett, who plays Peeta – portray only one character. The rest of the cast plays several different roles, quickly changing outfits to make the world of the production feel full of people, including citizens, Gamemakers, and Tributes. Notably, John Malkovich plays President Snow, but his scenes were filmed, so he won’t be appearing live on stage.

I suggested we consider this actor – he’d just finished a film with Martin McDonagh, a director I work with frequently. Honestly, I wasn’t sure why he agreed, but he was a total pro and a genuinely nice guy. We shot all his scenes in a single day, and I made sure our whole cast was there with him, so he could really play off of them. It was a clever way to get him involved in the project without a huge commitment.

The show features a spectacular stage with huge video screens and captivating special effects. The set is dynamic, with pieces rising from the floor, and performers soar through the air or climb among the audience using wires. At one memorable moment, Carragher even runs across the lighting equipment! It’s a technically complex production that also demands incredible strength and endurance from the cast. They spent ten weeks rehearsing starting in August, then moved into the theater for final technical preparation. In addition to group training, Carragher prepared by taking an archery course.

Charlotte Broom, a choreographer who had worked with Dunster for many years, joined the project in 2023. She participated in initial workshops and aimed to build upon the visual storytelling of the original film through the stage design.

She explained that when you venture into new territory, you need to truly embrace the change and commit fully to making it unique.

As a movie lover, I’m always impressed by the details that really make a scene pop, and Broom is fantastic at that. He collaborated closely with the actors to build these amazing visual moments – whether it was making it look like someone was running for miles on stage, or even fully transforming an actor into one of those scary dogs. It’s all about enhancing the story visually, and he nails it.

The choreography is deeply woven into the narrative of the play. Because the audience views the performance from all angles – even those with a high, bird’s-eye perspective – every movement has to be carefully considered. The performers have been actively involved in refining the choreography and finding solutions to make it all come together.

Although it’s notably technical and physical, the emotions had to come first for the actors.

“Performing and switching between tasks onstage is really challenging,” Carragher explained to Garrett from her dressing room. “You have to be extremely focused and aware of your surroundings, making sure you’re safe and everything is ready for what comes next.”

Garrett described how demanding the scenes were, explaining he had to focus on both the emotional intensity and practical details, like making sure his prop knife didn’t fall. He explained that filming often involved quickly switching between fully immersive acting and focusing on safety procedures, such as being secured with a harness. While safety was always the top priority, the goal was to maintain a believable performance while staying safe.

Carragher explained that she really connects with her character. With each scene, she learns new things about Katniss – what Katniss would and wouldn’t do. She feels so immersed in the role that she’s identifying with Katniss more than herself right now. She’s enjoying watching the characters develop as they rehearse and perform.

Let’s be clear: “The Hunger Games” at its core is a really tough watch, because it’s about children dying. Even though the actors are adults – the youngest is eighteen – this production doesn’t shy away from the violence at all. In fact, director Dunster believes this version is more brutal than both the book and the movie. He emphasizes that the deaths themselves, and the weight of those losses, are central to the entire experience. It’s not just action; it’s about confronting the cost of that action.

He explained his guiding principle for working on ‘The Hunger Games’ is simple: ‘Don’t kill kids.’ He feels a strong obligation to create the show given current events, pointing out that systematic starvation is happening in the real world, driving people to desperation. While lacking the dramatic presentation of the fictional ‘Hunger Games,’ he believes the underlying methods used by those in power are disturbingly similar, making the project feel particularly relevant and important.

The live aspect of theater augments that feeling of destructive loss.

Review

‘The Hunger Games’ a winning story of sacrifice and survival

Review: ‘The Hunger Games’ a winning story of sacrifice and survival

Carragher explained that the play doesn’t hold back from showing difficult truths. He emphasized that it presents a truly awful story in a raw and unflinching way, making its impact immediate and powerful.

Garrett explained that the story is both heartbreaking and impactful. He pointed out the irony of people paying to watch a violent story while children are actually dying, and hopes it will make viewers question their own role and whether they’re doing enough to help. He believes the story’s enduring power is why Suzanne Collins originally wrote it and why it continues to resonate with audiences.

McPherson believes the play is more than just enjoyable; it serves as both a cautionary tale and a reminder of potential dangers, much like George Orwell’s “1984” does.

He argues that people are capable of willingly and even happily dominating and harming others when the situation allows. He also points out that ‘The Hunger Games’ highlights how the media can be used to spread propaganda today. When dictators become famous figures and their terrible actions attract attention online, it becomes difficult to criticize them effectively, making them even more dangerous.

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2025-11-10 14:32