Across the history of cinema, there have been plenty of great movies adapted from acclaimed plays, but it’s not as common the other way around. This is something we more often see with musicals, which are inherently theatrical, but sometimes straight dramas, dark psychological movies, or beloved franchise films translate incredibly well from screen to stage.
From an iconic Alfred Hitchcock mystery or even a sequel to one of the biggest film franchises of all time, several incredible non-musical plays were inspired by movies. What makes these adaptations so compelling is how they strip stories back to their essentials, relying on performance, dialogue, and inventive staging to recreate, or even reinvent, what first worked on screen.
Rear Window (2015)
Alfred Hitchcock’s mystery thriller Rear Window already felt like a stage play when it premiered in 1954, and more than 60 years later, Kevin Bacon proved how well it works on stage, starring as skeptical photojournalist Jeffries, telling the gripping story of a man stuck in his apartment, slowly convinced he’s witnessed a murder across the street.
Debuting to sold-out audiences, Rear Window was a Broadway triumph, as Bacon perfectly captured the paranoid determination of a man whose obsession verges toward madness. Adapting one of the most acclaimed mystery movies of all time was no easy feat, yet director Keith Reddin managed to pull it off without the assistance of legends like James Stewart or Grace Kelly.
Shakespeare In Love (2014)
Although Shakespeare in Love’s Best Picture win at the Oscars remains one of the ceremony’s most contentious awards, few would deny the impact of this story on the stage. As a beautiful love letter to theater itself, this exploration of William Shakespeare’s life, loves, and influences as he originated Romeo & Juliet was truly ingenious.
Coming from playwright Lee Hall, the writer brought the same depth and power to this work as he did to the beautiful coming-of-age story Billy Elliot. With acclaimed revivals in Japan and South Korea, although Shakespeare may be the definitive English-language writer, this universal story of creativity has had major cross-cultural appeal.
Persona (2020)
While Ingmar Bergman is known as perhaps the definitive Swedish filmmaker, whose work, like The Seventh Seal, has become shorthand for brooding existentialism, he also carved out an impressive career as a theater director. For this reason, his plays almost always have a theatrical quality and have been adapted for the stage countless times.
A stage version of Bergman’s Persona debuted in 2020, and while it may not be as acclaimed as the 1966 film, it still captured the haunting energy of Bibi Andersson and Liv Ullmann’s psychological unraveling. As the identities of two women become increasingly interlinked, there’s Jungian depth and psychological intrigue in this fascinating and strange tale.
Harry Potter And The Cursed Child (2016)
Taking in an outstanding total gross of $174 million (via Guinness), Harry Potter and the Cursed Child has earned the status of the highest-grossing non-musical Broadway show. Based on J.K. Rowling’s Wizarding World, this sequel stage play was not without its detractors and is somewhat controversial among fantasy fans.
As a play written by Jack Thorne, with a story idea from Rowling, common criticisms are that it plays out more like fan fiction than a genuine follow-up to the Harry Potter series. Focused on Harry’s son, Albus Severus Potter, getting sorted into Slytherin at Hogwarts, there are some fun ideas here, but it failed to reach the lofty heights of the book or film series.
The Exorcist (2012)
The Exorcist had audiences fainting when it hit theaters in 1973, so it’s no surprise the stage version packed a similar punch. Adapted by John Pielmeier, it sticks close to William Peter Blatty’s novel and the film, telling the chilling story of young Regan MacNeil and her terrifying possession.
With Brooke Shields starring in the original production and Ian McKellen lending his voice to the demon in its 2019 run, The Exorcist had serious star power, even if critics were mixed. Still, The Exorcist has the power to get audiences talking and continues to unsettle them all these years later.
The Shawshank Redemption (2009)
The Shawshank Redemption movie has reigned supreme at the top of the IMDb Top 250 for as long as anyone can remember, so it’s no surprise that this story, originally penned by Stephen King, was adapted for the stage in 2009. Premiering at Dublin’s Gaiety Theatre, it proved its lasting appeal, gripping audiences far beyond the screen.
Starring The Wire’s Reg E. Cathey, the original run of The Shawshank Redemption powerfully examined friendship and hope behind the claustrophobic bars of a maximum-security prison and recaptured much of the appeal of Frank Darabont’s beloved movie. With consistent revivals, the latest iteration is even returning to Dublin this April.
Misery (1992)
Just two years after Kathy Bates won Best Actress for her exceptionally terrifying performance as Annie Wilkes in Misery, the story came to the stage in an adaptation by Simon Moore. As a claustrophobic story of an obsessive fan who keeps her favorite writer captive and forces him to write for her, its single location is a natural fit for the stage.
Moore’s version of Misery was revived several times, although the show got even more attention when William Goldman, the writer of the original film, staged his own version in 2012. A 2015 revival saw Bruce Willis take on the role of Paul Sheldon, bringing a dose of Hollywood star power to the production and adding a fresh edge to the tense two-hander.
The Graduate (2000)
It was a cult novel, a classic film, and finally an acclaimed stage show. The Graduate has impressively maintained its relevance all these decades later. While most will remember Dustin Hoffman’s iconic line, “Mrs. Robinson, you’re trying to seduce me,” the play captured all the energy of the original as audiences relived young Benjamin’s disastrous sexual odyssey.
The Graduate took inspiration from the novel and film to become a unique piece of art, and since it premiered in 2000 has been continually revived. As a glimpse into mid-1960s American life, part of the show’s power lay in how it navigated the fine line between the uptight old world and the sexual liberation that characterized the second half of the decade.
Network (2017)
The 1976 cult classic Network was known for its incredible Oscar-winning script, so it’s no surprise this thoughtful work translated so well to the stage. From the iconic “I’m mad as hell, and I’m not going to take it anymore” to its satirical take on media sensationalism, this story of a newsman in crisis has only become more relevant over time.
Adapted by Lee Hall, Network premiered in 2016, and Bryan Cranston took on the role of Howard Beale in the National Theatre production. Translating a movie to the theater can often be tricky, but this was a story made for the stage, and Cranston did some of his best work since Breaking Bad in this production.
To Kill A Mockingbird (2018)
To Kill a Mockingbird is a story that succeeds across every medium it’s presented in, as Harper Lee’s incredible novel and the classic Gregory Peck film have both earned special places in pop culture. This honor extends to the stage play, which is estimated to have grossed over $100 million (via The Hollywood Reporter).
Adapted by The West Wing and The Social Network writer Aron Sorkin, some took issue with the liberties he took with the story, but nobody can deny its innate power. With the lawyer Atticus Finch standing out as one of the most iconic heroes of American literature, it’s no surprise that his defense of an African American man falsely accused of rape remains timeless.
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