Single White Female has been pushed into the present at the Theatre Royal Bath, and the result is a production that makes the 1992 film feel unsettlingly current. Kym Marsh, playing Hedy, and Lisa Faulkner, as Allie, anchor Gordon Greenberg’s stage version of the story, which adds social media, screen addiction, online stalking, bullying and obsessive behaviour to the mix.

The update gives the familiar thriller a harder edge. Hedy’s lost baby has been written into the story, while Allie is now divorced and has a teenage daughter, Bella, played with an outstanding performance by Amy Snudden. Bella’s struggles with persistent online bullying are among the most upsetting scenes in the show, and they land as a reminder that the story is no longer just about jealousy in a shared apartment.

That apartment, designed by Morgan Large, sits high in a block with city views, a useful visual shorthand for isolation and surveillance. Electrical problems keep causing short circuits and blackouts, while Jason Taylor’s lighting and Max Pappenheim’s soundscapes help drive the tension with flashes, explosive bangs, loud music, pyrotechnics and coloured LED lights. The running time is two hours, and the pace rarely lets up.

Marsh and Faulkner are solid throughout, while Andro, as Graham, brings a lightness of touch and some much needed comedy. Greenberg’s production does not pretend to be the same story that audiences may remember from the original film’s release in 1992; it has been reshaped so thoroughly that it becomes something entirely relevant to the world today. That shift is the point. By folding in the anxieties of modern life, the stage version turns a familiar thriller into a warning about how quickly private obsession can spread online and spill into real life.