The Day of the Triffids Review
- Jul 22
- 2 min read
The Day Of The Triffids is a thoughtful, immersive stage adaptation that finds new relevance in a world of AI and apocalyptic anxiety
When you watch this 1950s sci-fi thriller you understand why the genre is now called “speculative fiction”.
It feels cliched to talk about classic futuristic and science-disaster novels as prescient, yet time and again, it is proven true, at least, in terms of themes and behaviours. Set in a post-apocalyptic world (literally just after World War II) in London, The Day of The Triffids depicts sinister threat from an entity created by humans for servitude, but which becomes sentient and vengeful. AI anyone?
John Wyndham wrote The Day of The Triffids in 1952. It was an enormous success and spawned several movies and TV series.
Stage versions are rare; the New Theatre’s brave and inventive production, adapted by J. James Moody might illustrate why. It’s a complex and physically vast story which is served best by film or imagination. That isn’t to suggest that this production doesn’t work, it definitely does — in parts.
The stage and visual designs are a good start. It is set in the round, with one or two rows of seating surrounding the stage in addition to the fixed tiered seating. This creates an immersive atmosphere and sense of immediacy.
The lighting is mostly dim, the stage mostly bare, and costumes are a combination of cobalt blue overalls and military green shirts.
The sound design features an interesting mix of 1950s music, in particular “Cry” by Johnny Ray, and requisite effects. There’s a clever use of vintage microphone for some news reel sections, and eerie incidental music. The best effect is the malevolent insect-like sound meant to represent the off-stage triffids.
Performances are all very good, but Max Ryan’s “Clockwork Orange” portrayal of the nasty Torrence is especially riveting.
Though a little uneven at times, this production of The Day of The Triffids is thoughtful and actually genuinely funny at times.
