A haunted play in a haunted venue that is sure to get your heart racing.
The King in Yellow is a play of unknown origins with the last recorded performance having taken place in Paris 1895. Rumours of a curse have kept this story largely in the dark, but this production feels like a well-deserved and overdue resurgence. Half Trick are certainly not scared to put in the effort and do groundbreaking things. With limited source material, they have created a spectacle that is unlike anything ever.
The audience is welcomed into the world of Carcosa before the play fully starts, with the actors seeming like they have inhabited the space forever and can never leave. The introductions provide a false sense of security and warmth to the first act. The intimate setting of the venue makes the audience feel like a united collective and the interspersed cast members give voice to accurate concerns.
When asked at the beginning and the end if there are “Any questions?”, the audience is faced with a mind so full of thoughts that there is nothing to be said. The King in Yellow poses a challenge for all who encounter it and is an enigma that is best shared no matter the cost. C.W. Scott does an impressive job of translating and bringing about a script for this lost story. However, I found the words secondary to the more expressive choreography. Indrid Heron in particular does a mesmerising job of this. The constant interruption and aside makes the whole show more unsettling as the audience really has no idea what is coming.
Everything is thought out and the actors are switched on the whole time. There is always something to see even if you are too scared to turn around. It is a true masterclass in screaming by all of the performers. There is something good to be said about every one of this small but mighty team. Isabella Velarde’s portrayal of Camilla is seemingly incompetent to start but makes way for an impressive and realistic breakdown. The teary tantrum of Alex Medland is also hard to forget. Joshua Fleming’s truly remarkable performance lives up to his very dramatic entrance following the prophecy of his absence. Joshua’s voice alone is standout and commands both attention and concern. There has never been a more menacing laugh or walk.
The set consisting of a stylised painted backdrop and limited props is simple but gorgeous. Rustic costumes follow the yellow colour scheme well and the use of draping on The Phantom of Truth and The Stranger is particularly effective. Nevertheless, the final reveal of The King leaves something to be desired.
The second act is cleverly done and indescribable. A secret inside joke that you really want to stay out of. Half Trick manage to create an atmosphere of hysteria that really stays with you. There are so many contrasting elements, leaving the audience to question what is ‘real’. The true horror lies in the (fictional) humanity of it all. Courtney Bassett as the disapproving director that is almost evil and C.W. Scott the writer that values the work over the welfare of the actors. The mystery of Lev is an added layer to the lore. Everyone in the vicinity is at the mercy of the play.
The King in Yellow is absolutely full to the brim. The unexpected quality makes it feel as though there is no escape from a show a show that is only an hour long.