The tradition of adapting novels for the stage continues to gain momentum across London theatres, with book-based productions forming a significant part of upcoming seasons. At the Lyric Hammersmith, London’s second-largest subsidised theatre after the National Theatre, half of the 2027 lineup will be literary adaptations. The selections include Markus Zusak’s international bestseller "The Book Thief," Shirley Jackson’s final novel "We Have Always Lived in the Castle," Toshikazu Kawaguchi’s "Before the Coffee Gets Cold," and Graeme Armstrong’s debut, "The Young Team."
In London’s West End, established shows such as "Matilda," "Paddington," and "Harry Potter and the Cursed Child" will be joined by a new musical version of Nicholas Sparks’s 1996 novel "The Notebook," famously adapted into a film starring Ryan Gosling and Rachel McAdams. Meanwhile, the National Theatre is preparing a staging of "The Jungle Book" next month, with a follow-up adaptation of Bernardine Evaristo’s "Mr Loverman" planned for 2027.
Rachel O’Riordan, artistic director of the Lyric Hammersmith, emphasised the creative challenges and rewards involved in transforming novels into stage productions. She pointed to the difficulties of visually representing complex narrative elements from literature, such as the burning house and a talking cat in Shirley Jackson’s gothic novel "We Have Always Lived in the Castle." “In a novel you can simply write about these events, but on stage, conveying them requires imaginative solutions,” O’Riordan said.
O’Riordan also highlighted the theatre’s commitment to new writing alongside adaptations. Among upcoming original works is "Brock’s Mill," by Stewart Pringle, which will be directed by Rufus Norris in his first London appearance following his departure as artistic director of the National Theatre.
Recent years have seen notable literary adaptations on London stages, including Hilary Mantel’s Thomas Cromwell novels, Robert Harris’s Cicero trilogy, and Maggie O’Farrell’s "Hamnet." For 2027, the Lyric is preparing a stage version of Virginia Woolf’s "Mrs Dalloway." Booker Prize winners and nominees have frequently been adapted in the past eight years, such as Alan Hollinghurst’s "The Line of Beauty" at the Almeida Theatre, two decades after its award, and Kazuo Ishiguro’s "Never Let Me Go" at the Rose Theatre, nearly two decades after its shortlisting.
O’Riordan addressed the perception that adapting existing texts might be an easier artistic choice compared to commissioning new work. She argued there are no guarantees of success in theatre and described adapting novels as a thrilling creative process that expands the intimate experience of reading into a communal stage interpretation that involves collaboration with other artists.
The surge in book-to-stage adaptations reflects a growing appetite for bringing literary stories to life in new and imaginative ways, bridging the gap between readers and theatre audiences across London.