“And we danced, on the brink of an unknown future, to an echo from a vanished past…”
John Wyndham’s THE DAY OF THE TRIFFIDS has captivated readers for generations with its unsettling blend of science fiction and social commentary. It is also a story that proves remarkably difficult to bring to the stage.
J. James-Moody’s adaptation begins before the audience realises the performance has started. The theatre is stripped bare and the cast casually mingle with arriving patrons, chatting with friends and remaining resolutely out of character. It’s an odd, intriguing opening that blurs the line between rehearsal and performance before the evening becomes progressively stranger.
The production embraces immersive theatre, with audience members seated both conventionally and on stage. While the concept is appealing, the execution is uneven, with performers not always able to play effectively to those seated within the action.
James-Moody’s direction relies heavily on sensory disruption. Blackouts, popping balloons and sharply timed sound effects aim to unsettle the audience, echoing ideas associated with Antonin Artaud’s Theatre of Cruelty. Unfortunately, these devices often feel more self-conscious than shocking, creating the impression of techniques applied for effect rather than emerging organically from the drama. The sound design, by Aubtin Namdar, similarly strives for precise synchronisation with the action but doesn’t always land cleanly.
The ensemble commits fully to the demanding physical style, although inconsistent accents occasionally undermine the production’s sense of place. The clear standout is James Collins as William. His natural, grounded performance cuts through the theatrical experimentation, providing genuine emotional stakes and a compelling centre to the unfolding story.
Supported by Tony Llewellyn-Jones, Claudia Elbourne, James Collins, Nathan Farrow, Kate Mannix, Umai Shantharajah and Natasha Todd, the cast works hard to realise James-Moody’s ambitious vision, while Holly Nesbitt’s lighting effectively shapes the production’s shifting moods.
Running just over two hours without an interval, the production could benefit from tighter pacing, particularly as its visual and sensory devices begin to lose their impact.
There is genuine ambition here, and James Moody’s long-held affection for Wyndham’s novel is unmistakable. Yet THE DAY OF THE TRIFFIDS ultimately demonstrates why this science-fiction classic has found greater success in literature, film and television than on stage. Despite inventive ideas this adaptation never quite finds the theatrical language needed to match the scale and tension of Wyndham’s original. It is a polarizing show but you never know, you might just enjoy the experience.
J.James-Moody’s stage adaptation of John Wyndham’s THE DAY OF THE TRIFFIDS opened on Thursday 2nd July and is playing until the Saturday matinee on 25 th July 2026.
Production photography by Chris Lundie
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That was actually James Collins playing William/Bill!
Thank you I have made the correction