“An obscure chapter of London lore lovingly resurrected in an inventive two-hander.”
In the early 1970s, a letter published in the Hampstead and Highgate Express reported a ghostly presence lingering among the tombs of Highgate Cemetery at night. In the years that followed, the media became awash with stories of paranormal phenomena: devil worship, animal sacrifice and an ominous black figure with blazing red eyes. Whether this was an elaborate hoax or a curious outbreak of mass hysteria remains unclear, but the Highgate Vampire endures as a peculiar corner of London folklore, raising questions about how urban legends are formed and fuelled by the press.
Such strange events are ripe for theatrical treatment, and The Highgate Vampire, a joyously silly new show at Omnibus Theatre, more than rises to the challenge. Blending surreal humour with flashes of gothic horror, the piece never loses sight of a universal fear: the terror of the unknown arriving on our doorstep. The story centres on two rival demon hunters, Bishop Patrick Sheffield and Daniel Farringdon, played by writer-performers Alexander Knott and James Demaine. Despite their differing beliefs, the pair claim they reluctantly joined forces to vanquish the vampire – though whether this is true, or whether the vampire ever existed, is left for the audience to decide.
The show is framed as a lecture, with the bickering duo presenting competing versions of events directly to the audience. The smugly pedantic Sheffield,views the vampire through a strict Christian lens, favouring exorcisms and vigorous wafting of crucifixes. Farringdon, is more flamboyant: a tobacconist and part-time shaman whose new-age beliefs reflect the 1970s’ fascination with the occult. His jazzy wardrobe and love of live performance suggest he may be as motivated by self-promotion as by public safety.
While the lecture format remains constant, the show unfolds through increasingly madcap storytelling. Witness testimonies are brought to life with rapid costume changes and ludicrous accents; a surprisingly instructive ukulele ditty explains how to stake a vampire; and a live demon-summoning sequence demands audience participation. Even the most seasoned demonologist may occasionally struggle to keep up, but Ryan Hutton’s slick direction and well-workshopped script sustain the momentum.
Some of the production’s most powerful moments emerge when the frenetic comedy gives way to stillness. Early sections lean into horror, particularly in the chilling witness accounts, which evoke Highgate Cemetery’s gothic character, supported by Samuel Heron’s atmospheric sound design. There are echoes of Shearsmith and Pemberton’s uncanny blend of the macabre and the banal. By the climax, the show veers decisively into surreal, zany territory – a tonal shift that won’t please everyone, but arguably suits the anarchic spirit of the piece.
Technically simple, the production is supported by Audrey, played by producer Zöe Grain, who provides all sound and technical effects. Above all, the chemistry between Knott and Demaine carries the evening: the jokes come thick and fast, their physical comedy shines, and the humour never undercuts the story. Fans of both horror and alternative comedy will find much to enjoy here.If you’re seeking an offbeat alternative to traditional Christmas fare, The Highgate Vampire is an absolute treat: daft, dark and thoroughly entertaining, leaving you laughing in the theatre and, just possibly, scanning the shadows on your cold walk home. The Highgate Vampire shows until 30th December, tickets are available here.