Tag: thriller

REVIEW: The Woman in Black at Oxford Playhouse 

Published on by bowenreannaLeave a comment

Rating: 4 out of 5.

A masterclass in psychological tension that proves fear is most powerful when left to the imagination.

The Woman in Black at the Oxford Playhouse is a tightly controlled and psychologically unsettling production that demonstrates the enduring power of suggestion in live theatre. Through minimalist staging, precise technical design, and two compelling central performances, the play sustains an atmosphere of tension that repeatedly provokes audible gasps and startled screams from the audience.

At the centre of the production are John Mackay as Arthur Kipps and Daniel Burke as The Actor, both of whom deliver assured and absorbing performances. Mackay’s range is particularly striking; his ability to transition fluidly between characters is executed with clarity and subtlety. Each shift in voice and physicality is carefully controlled, allowing the narrative’s layered structure to unfold without confusion. Burke provides a strong counterbalance, bringing energy and nuance to his role while anchoring the play’s self-reflexive framing device. Their onstage chemistry ensures that the storytelling feels immediate and immersive rather than purely theatrical.

The production’s use of space is deceptively simple yet highly effective. A largely bare stage, punctuated by minimal props, encourages the audience to actively participate in constructing the world of Eel Marsh House. Rather than relying on elaborate scenery, the performance builds atmosphere through suggestion. Lighting is used with precision, casting elongated shadows and isolating figures in narrow pools of light, often heightening the sense of exposure and vulnerability. Sudden blackouts and carefully timed sound cues repeatedly disrupt the audience’s sense of security.

The infamous pony and trap sequence exemplifies this approach. With limited physical resources, the production creates a moment of intense psychological horror, demonstrating how sound and performance can generate fear more effectively than spectacle. The restrained staging ultimately amplifies the terror, as the audience’s imagination fills in what is not explicitly shown.

The second half of the production is particularly powerful. As the Woman in Black becomes more visibly present, the tension escalates significantly. Her appearances, often emerging silently from shadowed corners of the stage, are executed with chilling restraint. The cumulative effect leaves the audience visibly on edge, leaning forward in anticipation. Audible gasps and collective jumps ripple through the auditorium, reinforcing the shared nature of the experience.

Importantly, moments of humour are interspersed throughout the performance. These instances of levity provide necessary relief from the mounting intensity, yet they never undermine the darker elements of the narrative. Instead, the contrast sharpens the impact of the horror, making subsequent shocks feel more pronounced.

Ultimately, The Woman in Black is a gripping and intelligently staged production that relies on performance, atmosphere, and imagination rather than spectacle. Its controlled pacing and psychological precision result in an experience that is both unsettling and theatrically sophisticated.

The Woman in Black runs until Saturday 14th February at the Oxford Playhouse, Oxford.

IN CONVERSATION WITH: Danny Robins

Published on by justinemsjonesLeave a comment

A brand new Uncanny stage show, Uncanny: Fear of the Dark for a UK tour from September 2025 – March 2026. The first Uncanny live stage show I Know What I Saw was one of the best-selling paranormal shows in theatre history. Now, Danny Robins and his team of experts are back with all-new, thrillingly terrifying, real-life stories and witness accounts that will have audiences utterly gripped. We sat down with Danny to discuss his upcoming tour.

You’re heading out on tour again with a brand new show off the back of the massive success of the podcast, two seasons of the TV show, a book, and more. I’m sure your fans will all return for this newest iteration, But for the benefit of those who are new to Unanny, what should they expect?

Uncanny is real people telling me their ghost stories. And, the more I’ve told, the more people have sent me. It’s this beautiful thing now that we have thousands and thousands of stories coming to us in the wake of the TV series, and some of them are just absolutely sensational.  So, the tour is brand new stories that have not been heard anywhere before, not on television, nor on the podcast. A selection of stories, some ghosts, some to do with all sorts of different aspects of the paranormal, including even cryptozoology, the idea of beasts that might be out there, lurking, like Bigfoots and yetis and Loch Ness monsters.

In terms of the cases this time around, what stage are you at in terms of choosing which case studies will be featured in the new show? Any hints?

We’re going through stories at the moment and the great thing is there’s just a huge amount of brilliant stories out there really. And I think the thing that I always feel is really powerful with Uncanny is that these are stories that quite often haven’t been told to anyone else before; that people just haven’t known how to talk about them, or where to talk about them. Sometimes I am the first person they feel comfortable telling them to.  They haven’t even told their own partners about it. So, I always feel really privileged and honored to have these stories in my possession and to try and help people make sense of them. And I think it says something quite powerful about the Uncanny audience actually that people feel comfortable sharing these stories with them as well. 

That’s one of the lovely things about the show, that it’s built up this great community around it. And all of us, whether we’re skeptics or believers, are all here for the same purpose: to try and listen to these stories and try and make sense of them. And as we go out on tour, just in the same way as with the podcast or TV series, we’ll be asking the audience to ask us their questions or share their theories on the night. You’ll be part of this audience trying to work out what the hell’s going on with these stories. If you want, you can actually tell us your stories as well. There’ll be a section of the show where you can tell us your own ghost stories. The stories that always set my pulse racing are the ones that come from somebody who says, “I don’t believe in ghosts, but I think I might have seen a ghost.”

There’s something quite powerful really about somebody who’s forced to reassess their entire world view, their whole concept of the universe because of something they have seen or experienced. That’s something I feel keenly because I’ve always wanted to see a ghost and yet I hear these stories and think ‘be careful what you wish for ‘ because once you do have an experience like this, whether it’s a ghost or a UFO whatever it is, I think it totally changes you as a person and you can’t step back from that. Maybe you felt a level of fear you’ve never felt before but certainly you it leaves you having a different understanding of the way the world works.

If the dead really can come back to life and appear in front of you,…then that fundamentally rewires our whole understanding of the universe. It’s a simultaneously frightening and exciting thing.

With all of this material,…how do you choose?

It’s very simple. It’s the ‘shiver down the spine’ test. and people often ask me, “How long does it take me to decide on the story?” And normally it’s instant. I read an email and there’s just something about it that sends a little frisson of fear through me. And then you talk to the person who it happened to and you see the whites of their eyes, and you hear that little tremble in their voice, and you realize that they are still frightened often after maybe as long as 50 years. And for me, that’s a mystery I want to solve.

I want to try and understand what could make an ordinary person, someone like you or me, who lives in an ordinary house, experience that level of fear in a place they should feel safe and comfortable. So I am drawn to these mysteries but I’m drawn particularly to try and make sense of fear because I think all of us as human beings fear fear, if that makes sense. Yet fear has kept us alive throughout the ages. It’s the thing that makes you outrun a predator. It’s the thing that sort of stops you from going into situations that might be the end of you. But then when you experience that kind of incredible level of fear in a normal domestic environment, where does that come from? What is it in your house that is doing this? Is it that incredibly powerful thing the human imagination? Is it something to do with your environment? Or is it that it is genuinely paranormal,  something that sits outside of normal, that is in your house. and if so, how the hell do we explain that?

The Uncanny live show isn’t just a podcast on stage. Can you tell us a bit about what makes it so different from other live podcast experiences that some people may have experienced?

I think the average podcast show is people sitting around talking on stage and this is definitely not that.  It’s kind of an ‘all singing and dancing’;  not actual singing and dancing, that would be terrible, I can’t sing or dance, but it’s an explosive burst of theatricality live on stage. I’m somebody who grew up loving the theatre. I love the magic of theatre,  I love what you can do in a darkened auditorium with lights and sound and sets and props.  I remember very clearly going to see The Woman in Black as a teenager and just being blown away by how exhilarating and frightening theatre could be. I’ve created my own frightening play as well, 222 A Ghost Story, so I’m drawing on all of that tradition and that love of the theatre.  Uncanny is bringing stories to life, basically. These real life stories of the potentially paranormal. I evoke these stories through a mixture of storytelling and video projection and lights and amazing soundscapes and illusions that make scary stuff happen in front of you on stage. The aim is to create something that feels genuinely exciting and adrenaline-filled.

It’s a night out that will have you jumping out of your seat and hopefully chatting long into the night, debating the question:  ‘Do ghosts exist?’ We get to do this together in a theatre every night. We get Ciaran and Evelyn,, our team skeptic and team believer experts together with an audience and we try to solve these mysteries.

 Tell me a bit about your audience experiences. Would you say they are majority believers, or is there a good, healthy skeptic contingent?

I think it’s very divided, and I like that. And I think Uncanny is unusual. Most paranormal shows almost always cater to one or the other. you either kind of have those shows that very much preach to the converted and have people camping out in stately homes and castles trying to sort of spot ghosts and getting mediums channeling spirits on command, the flip side of it is that idea of debunking the paranormal and pouring a huge tub of cold water on it,  the skeptic approach. And so the idea of sitting in the middle and getting skeptics and believers together and actually just listening to these stories in a non-judgmental way and not jumping-to-conclusions way, and saying that it’s okay to be unsure. I think that’s really important.

It’s okay to say ‘I don’t know’ and to be in that kind of gray space between, black and white. The uncertain nature of this whole thing, I think, is so important. And so, yeah, I mean, we’ve got the people who turn up and buy the team skeptic t-shirts and the people who turn up and buy the team believer t-shirts, and they’re often couples, or close friends. One’s a believer, one’s a skeptic. I just love it and I think, if we can agree to disagree, that’s a pretty good thing. We’re encouraged to be very opposed to each other at the moment. If you step out on social media, you will always see people arguing, taking one side or another. you’re encouraged to define yourself by what you disagree with, what you hate, who you’re opposed to. And actually, you don’t have to always be like that.

So these are detective stories and if you’re a skeptic it’s a ‘how done it?’ If you’re a believer it’s a ‘who done it?’ Who is the ghost? and long may that continue.

Do you have any memorable anecdotes from the previous two live tours of Uncanny Spooky going on in theaters, or chilling audience member stories you want to mention?

The beautiful thing was that we did a kind of survey of haunted theaters.  Every single theatre we went to seemed to have a ghost story attached to it and we collected these as we went around and I just became fascinated by theatre ghosts. So, I absolutely love that. But also the ghost stories that audience members told us as well, there were some great ones.  I remember a woman in Southampton who told us that when she opened her cereal cupboard in the morning to get her cornflakes out saw the floating disembodied head of her late neighbour, that’s one that sticks out. She seemed completely unfazed by it. Didn’t bother her. There was a Geordie we met who claimed that the ghost of his gran had eaten his Doritos. That will live long in the memory as well. But amongst all of that, there were some really powerful stories as well. There were some really really emotionally raw stories about people who felt that they’d connected with people that they had loved and lost. A woman who felt that she’d seen the ghost of her dad in the backseat of her car warning her to slow down just at the moment that she would have been about to have an accident.  Stories like that, really really powerful moments where somebody felt that they had this little moment of contact that changed their lives. So, you feel very privileged that people are comfortable enough to share these stories with you really.

Uncanny has captured the public’s imagination. How would you explain such a diverse community’s fascination with it?

I think there’s something about the times that we live in that make us particularly interested in this subject right now. We’ve lived through this very strange unsettling era. We have the threat of climate change, we have war creeping ever closer to us.  All these things make us question our mortality and think about the idea of what happens to us when we die. I think that just living in strange chaotic times makes you think about these things as well. I think the more frightening our own world becomes the more we look to find another world beyond it.

And you definitely see, in times of unrest, a real interest in the paranormal. You saw it back in the 1960s. You see it right back to Jacobean times, and certainly in the wake of the second world war. A huge boom of interest in the supernatural,  people wanting to contact the dead, the invention of the Ouija board, the kind of era of mediums who were rock stars.  There’s a hunger and a fervor I think for trying to understand this subject at the moment and I think what Uncanny does is treat the subject with a seriousness and intelligence, but. It’s also fun. It’s entertaining. But it’s not just there to entertain you. The greatest detective story,  the greatest mystery of all, asks ‘What happens to us when we die?’

I always think that Uncanny is one half of a conversation and…whether it’s on the podcast or the TV series where we’re inviting people to send in their questions and theories live and in an auditorium it only makes sense when we are with our audience and otherwise I would just be a crazy bloke sitting in the shed at the bottom  of his garden. obsessed by ghosts. Getting out there and actually having real contact with fans and sitting in a theatre full of people and just getting to talk about this subject together. I really get off on that. And also, to be able to travel around with Kieran and Evelyn and take that sense of a team really, that the three of us have become a lovely team over doing the show.

Whether you’re seeing us sitting in The Ship pub on television talking about this subject kind of trying to bash out and solve these mysteries, or whether we’re doing it live in a theatre,  I think all three of us feel really excited to be kind of living out our passion All three of us are kind of ghost junkies. We’re obsessives. We’re people who’ve been into this subject since we were kids and have never ever been able to kind of scratch this itch, basically. It’s the kind of obsession that’s dominated our lives. It’s just a thrill, basically, to go out and do this every night.

Uncanny: Fear of the Dark tours the UK from September 2025 to March 2026. Tickets are available here.

REVIEW: The Croft

Published on by Claire McArthur1 Comment

Rating: 4 out of 5.

goosebumps and intrigue

Ali Milles’ chilling thriller “The Croft” is a story of many elements – part Scottish folklore, part real-life history, part family drama, combined with love, grief, violence, hatred, and ripples of consequences from past decisions. 

The play, directed by Alastair Whatley, unfolds in an old crofter’s hut in Coillie Ghillie – a deserted village in the Highlands, out of reach of the rest of humanity. Laura (played by Gracie Follows) and Suzanne (Caroline Harker) arrive after a long drive up from England, and over the course of a few days, and amidst unexpected events, a tangle of threads emerges from past and present lives connected with the croft. We hear Coillie Ghillie described as ancient, and a ruin built on a ruin, that you need to feel in your blood to be welcome within. 

Laura and Suzanne’s weekend unfolds with the stories of Laura’s parents, Ruth (Caroline Harker), Tom (Simon Roberts), and the local ghillie David Ross (Gray O’Brien); and that of a far older history, dating back to 1970s, with Enid (Liza Goddard) on the verge of eviction following claims of witchcraft and blasphemy, and Eileen (Gracie Follows) who’s ultimate fate was never understood. 

Much of the focus is on Laura and Suzanne’s storyline, and their interactions with David, who knew Laura as a child. The performances are solid, and there are moments of comic levity peppered throughout to offset tenser moments, frequently delivered in a typically Highland deadpan manner by David, such as crowning Suzanne “the banshee from Barnet”.  Although there are distinctly Scottish undertones, there is sufficient exposition provided to make it understandable for those not familiar with folklore. A noted example being the “Selkie vs Selfie” conversation, between the three. Gracie’s portrayal of Laura is wonderful, however, it felt at times the character was veering on the more petulant side. As the play progressed into the second act, (and without spoiling anything!) some of the parallels in the relationship felt a little over-emphasised. 

With the set being a deceptively simple cut through of the croft’s living room, the onus is on the actors to denote the different characters they play, and they change cleanly and rapidly, often as we watch them on stage, with something as simple as whirl of a shawl. The lighting design by Chris Davey, is especially evocative, with no additional light from the house lights, the on-stage lighting created a deeper intimacy in the changing storylines. 

This is not a play with a continuous string of jump-scares, but there are some genuinely spooky moments in Act 1, and this increases in Act 2, as the tension ramps up, and I had definite goosebumps as it reached the climax of the play. Judging by the audience reactions around me, others felt the same way, with sharp intakes of breath and rapt attention. 

However, the story of the croft is more than a ghost story – much like David notes when comparing spirits and ghosts, it is more complex. The story culminates in a satisfying conclusion of the various threads, but the characters remain with you, long after the show. 

The Coille Ghillie may not be in your blood, but everyone looking for a tale of relationships with chills and intrigue should consider heading for “The Croft”. 

The Croft runs at Edinburgh’s Festival Theatre from Wednesday 25th – Saturday 28th June 2025. For tickets, see: https://www.capitaltheatres.com/shows/the-croft/

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In Conversation with Alexis Gregory

Published on by Tabitha JamesLeave a comment

We sat down with Alexis Gregory whose new comedy thriller Smoke comes to King’s Head Theatre from 2nd-11th November.

Get tickets here: https://kingsheadtheatre.com/whats-on/smoke

Smoke dives into the blurred line between reality and fantasy in the post-truth era. What inspired you to explore this theme, and how does it relate to your personal experiences, particularly your own encounter with privacy invasion?

I think Smoke has really been brewing in me for decades. But the majority of the writing was done over the summer of 2022. I sat on my doorstep to do so, and got a suntan at the same time. I was struck by gay men, in my feeds, filming their psychotic episodes and sharing them, and writing and sharing posts that were also very heightened and clearly also indicated psychological delusions. As a gay man, and knowing how prevalent drugs are on the scene, I made an assumption that some of these episodes are drug related. I also got hacked, and they tried to get into all my accounts, from my social media to my Apple ID, to my PayPal. I had the idea of Alex, my character in Smoke, being hacked, and ‘receiving’ a message via his deceased lover’s account. A couple of days after that, I got a fake message on Insta from a gay guys account who had recently died. I couldn’t not continue to develop Smoke.

Your play focuses heavily on themes of surveillance, paranoia, and self-documentation in the digital age. How do you think the rise of social media and the loss of privacy have particularly impacted queer identities and relationships?

From a gay male point of view, self-documentation can be very appealing. Many gay men, especially younger, like to be looked at, and live elevated lives, or live lives that echo those of celebrities. I’m always fascinated by gay men posting ‘Ask Me A Question’ in their Insta stories. Many gay men also love sharing transformation pics; look at me then, and look at me now, and how much ‘better’ I look now. Modern gay lifestyles have always been fed by the aesthetic, and beauty. And today, the modern gay urban experience can encourage narcissism and self-obsession and self-centredness. These are not alien traits to many gay men. One can leave some of that behind, as one gets older. But not always. Presenting perfection on Insta is also appealing to gay men I think, as we often are driven to overachieve, and what’s the point of overachieving if no one knows about it.

In Smoke, Alex receives a message from his deceased ex-partner’s Instagram, sparking a dark and suspenseful journey. How did you balance the thriller aspect with the raw emotional exploration of queer life and relationships?

The queerness of the piece, in terms of it’s setting, themes, the characters, and what they experience is totally integrated into the script. In ’Smoke’ in the shape of a thriller, and dark, biting comedy. It is all from me, and so filtered via a queer lens; my own. You could look at the script, and your evening at the theatre in various ways. The tale, and journey of a queer man on the edge in London, or of ‘just’ a man on the edge in London. Much of what pushes Alex to act how he does is specifically because of his queerness; his experiences as a gay adolescent, with drugs, in gay relationships, the specific alienation he experiences etc. I think a queer audience will pick up on all this, and view in a certain way.

You’ve mentioned that this play marks a departure from your previous work. What challenges did you face while creating this more stripped-back, plot-driven production, and how did collaborating with Campbell X influence the direction of the piece?

Well this isn’t the first time one of my plays has had a plot!! I think the challenges will happen in the performance, in front of an audience. I am very exposed with this one. Nothing to rely on apart from me and the words in terms of conveying the story to the audience. No clever lighting design or soundscape. The audience is fully lit throughout too. We’re all in it together. Writing and performance wise, I’m quite ‘big. I’m interested in what theatre ‘is’, rather than reality. However, in Smoke, I do lean into a more naturalistic performance, although Alex is pretty wild which adds to the heightened nature of what’s unfolding on stage. I think, writing-wise, this is my most conversational piece. Again, that felt natural. Campbell has completely embraced my vision from the play, and added so much to it already; encouraging me to lean into the ‘selfie\ style documentation in the palms branding for example, and inherently understanding Alex’s journey as a gay man, and his drive to, quote simply survive the city as a man,

Humor plays a key role in tackling heavy themes like conspiracy theories and digital obsession in Smoke. How did you approach using humor to address such intense and personal topics, and what impact do you hope it has on the audience?

I don’t consciously approach integrating humour into my work. It just happens. I feel that I ‘channel’ the humour. It happens naturally. Normally when I write, I know how each funny line with land with an audience and how they respond. However, in each script I write there, are often two lines that get big laughs every-night, that I didn’t anticipate the audience would find funny. They can even be quote ‘throwaway lines’. So I am surprised by my scripts, and audiences, often. The humour is very knowing, from a queer perspective, I think. And so I hope there are laughs of recognition. Alex is a Bad Gay, and Bad Gays are ALWAYS more fun to depict.

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REVIEW: Port City Signature

Published on by chriswood141 Comment

Rating: 3 out of 5.

Often captivating, often mystifying drama/thriller – Will she shoot the sheriff? 

Playwright Nathaniel Brimmer-Beller’s latest play is a rather original take on the ‘a stranger comes to town’ motif. Co-directed by Brimmer-Beller and Phoebe Rowell John, Port City Signature takes us through a single evening in which a young woman, the Newcomer, walks alone into a quiet local pub in a sleepy seaside town after getting off the train at the wrong stop. Accosted by the Regular, and the Lady, serving behind the bar, who attempt to convince the Newcomer to shoot the town’s local sheriff before she boards the last train out of town forever.

The play poses an enticing question to the audience at the beginning: ‘Will she shoot the sheriff?’. The play then draws us closer to the answer to that question at a healthy pace. Why then, did I leave the theatre feeling somewhat unsatisfied? 

Despite the play being grounded in realism, set in an unconfirmed time, though presumably the 70s or 80s, the premise of the plot never felt believable. The idea that two strangers who exist in a morally grey area between good and evil would ask a timid stranger to commit murder never truly sat right. As the plot advances, more and more questionable decisions are made that feel inconsistent in sequence from what we previously saw or heard minutes earlier from the same respective characters. 

The most important character, the Newcomer, portrayed by Meg Clarke, is perhaps the largest enigma – the journey of timid stranger hard on their luck to potential executioner would have perhaps landed better had the play been longer, and the character given more time to develop. In addition, I would assume a clear decision was made to have the Newcomer speak in a strong ‘Received Pronunciation’ accent, presumably to show a surface level dichotomy from the way they speak and their thought process around a potential murder, though at times this felt overdone. 

The characters of the Regular and the Lady were played well by Paddy Echlin and Katherine Lea, respectively, but it was David Carter as the Sheriff who, despite having the smallest role, made the largest impression on stage. Built up as a bogeyman whose death would serve the greater good, when the Sheriff finally makes his entrance, Carter’s demeanour is intimidating, and his energy creates an instant oppressive fog of tension. 

As a piece of entertainment, Port City Signature is best enjoyed without too much critical thought. It’s engaging, original, and even fun if you’re a fan of gun-driven tension. When you start to challenge it for its realism, then the cracks begin to show. 

REVIEW: The Changeling

Published on by Tabitha JamesLeave a comment

Rating: 2 out of 5.

A reimagining of a Jacobean classic unfortunately fails to thrill

For the spectre-filled month of October, Lazurus Theatre Company have brought The Changeling to the Southwark Playhouse. By Middleton and Rowley this acclaimed Jacobean drama explores the concept of sin and how one sin often snowballs into evil and increasingly worse deeds Perhaps erroneously marketed as a thriller by Lazurus, this is less a jump scare, edge of your seats story but instead a slow expose on pride, selfishness and arrogance.

Having been written in the 1600s this play dialogue is in Early Modern English – all its unruliness and verboseness is reminiscent of Shakespeare which may make it offputting to some of the audience. Shakespeare has the benefit of being well known from GSCE English and audiences can still find a familiarity in the works and rhythm but the Changeling was hard going in all honesty. It certainly took me a few minutes to tune in my ear and I often found if any of the cast stumbled or spoke even slightly quietly I lost the gist of what they were saying.

I further dwelled on the issue of the language when on reading the programme I saw the company prided themselves on revitalising and showcasing classic works whilst making them accessible to the contemporary audience. The only nods towards this noble aim was the setting of the stage – an art deco conference table, the odd costume choice of officewear and the replacement of the ‘Madhouse’ scenes with an inhouse band. All of these felt at odds and failed to come together in a cohesive vision. Exploring the language in ways that could make the dialogue itself more accessible to those watching would have been an interesting take as would have a clear vision for this ‘boardroom style set. Instead we ended up with a few distinct directorial decisions that fell short.

The inhouse ‘Patients’ band was probably the best decision made by the company which added a bit of comedy to an otherwise miserable tale – the asylum scenes were originally intended to add levity by the playwrights so it was good to see these weren’t cut all together. Special shoutout to Mikko Juan whose song in the second half got great engagement from the audience.

The cast was undoubtedly full of talented individuals but the energy unfortunately felt mismatched. Colette O’Rourke as Beatrice Joanna was on a whole different level when it came to her delivery and characterisation – she felt fully immersed in the piece which was admirable but almost at odds with the other casts more dry delivery. Henrietta Rhodes as Diaphanta showed some real flair of attitude in her role and I wished that we’d seen more of her character. It is difficult to fault the cast for their performances as the play didn’t offer them much opportunity to delve into their characters. The dialogue often dragged on preventing much chemistry from forming between cast members as each waited for the other to finish before starting.

As an evening that promised a ‘theatrical, daring and full throttle production’ I was left wanting. With a slightly more comprehensive vision I think the cast would deliver an engaging performance but in it’s current state I found myself less dared and more damned.

REVIEW: Murder in the Dark

Published on by Tabitha JamesLeave a comment

Rating: 4 out of 5.

A witty show full of jump scares that through wonderful acting, haunting set design, and atmospheric lighting to deliver a gripping supernatural thriller.

Murder in The Dark is an electrifying production that combines talented acting, clever set design, and atmospheric lighting to deliver a spine-tingling experience that lingers long after the final curtain falls. This thriller, directed by Philip Franks, is a must-see for anyone seeking an evening of suspense and supernatural intrigue sprinkled with a little bit of comedy.

The entine cast’s performances are stellar. Tom Chambers, in the role of Danny Sierra, leads the pack with charisma and vulnerability. His portrayal of the troubled singer grappling with a series of inexplicable events is both haunting and empathetic. Susie Blake’s Mrs. Bateman adds a layer of mystery and gravitas to the narrative with a very careful dose of humour, while Rebecca Charles, Jonny Green, Owen Oakeshott, and Laura White round out the ensemble with strong, captivating performances. Their chemistry and ability to convey the mounting tension in the story are truly commendable.

The set design of Murder in The Dark is a triumph in its own right. The isolated holiday cottage in rural England is brought to life with meticulous attention to detail. From the ugly furniture to the spooky well, the cottage becomes a character in itself, harboring secrets and foreboding atmospheres that perfectly complement the narrative.

What really helps with the spooky atmosphere is the clever use of lighting. As the title implies, darkness plays a central role in the story, and the lighting design skillfully employs shadows and dimly lit scenes to create a suspensful atmosphere and providing ample hiding spaces. The moments when the lights go out leaves the audience on edge and fully immersed in the world of Murder in The Dark. The interplay of light and shadow is masterfully executed, enhancing the tension and delivering some genuinely hair-raising moments.

Director Philip Franks’s affinity for horror is evident in every aspect of the production. He skillfully navigates the genre, taking inspiration from classic horror films and infusing the play with a contemporary edge. Franks understands the power of horror in reflecting societal anxieties, and this production deftly taps into those fears, making it all the more relevant and gripping.

In conclusion, Murder in The Dark is a great night out that is worth catching on its tour across the UK.

REVIEW: Wickies: The Vanishing Men of Eilean Mor

Published on by Natalie GoringLeave a comment

Rating: 4 out of 5.

“Gripping ‘true story’ thriller brilliantly acted – what’s not to like?”

Wickies: The Vanishing Men of Eilean Mor by Paul Morrisey is the thrilling new look at the enduring mystery of the disappearance of James Ducat, Thomas Marshall and Donald MacArthur.

On 26th December 1900, a small ship arrived on Eilean Mor to find its only inhabitants missing. Clocks stopped, chairs overturned, food half eaten and the light out – this is where we start our journey. What follows is a creative tale pieced together with moments of truth and lots of imagination, including direct quotes from newspapers and log books found on the island. 

What is interesting about the writing is from the beginning we are told the men are going to disappear, with moments of narration jumping from present to past to break up the piece. The knowing actually creates a constant tension which is palpable throughout, the audience desperate to know what is going to happen next. There are a few moments where the cast are telling what would be their version of old wives tales where the language becomes a little flowery – particularly for the situation, but still lends itself well to the overall piece. Additionally even in moments of high tension and confrontation these weathered seamen and wickies were linguistically elegant. Other notable things about the writing is the recognisable form, reminiscent of shows like Women in Black, a ghost story where your imagination creates the drama.

The set utilises the Parks’ lovely auditorium perfectly, truly transporting the audience to the inside of a cold stone building. The wonderful touch of a spiral staircase hanging from the ceiling immediately adds height and allows the imagination to fill in the details. One pet peeve is they ‘eat dinner’ and miraculously have clean bowls, just something simple which pulls the audience out of the moment. 

Lighting and Sound design is heavily exploited to compliment the experience, the constant ‘lighthouse’ background noise – the soundscape is really all encompassing and very impressive. Lights are cleverly used to darken moments which should feel intense and also to mark present and past.

The cast are really the lynchpins on which the story hangs, Graeme Dalling (Donald Macarthur) is the aggressive drunk, Jamie Quinn (Thomas Marshal) the ‘wet behind the ears bairn’ and Ewan Stewart (James Ducat) the tortured stalwart. All three are exemplary, listening and responding truthfully throughout, the relationships immediate and clear. Particularly impressive is the multi-roling shift with the only real change usually being a coat, but the cast transforms easily. Quinn often shines with his likeable innocence dramatically juxtaposing the others. Director Shilpa T-Hyland has clearly created an environment where these actors can shine. 

With London theatres overrun with Christmas Carols, this is the perfect thriller for those looking for something a little darker. 

An Inspector Calls 2022-23 written by J.B. Priestley by PW Productions Creatives Stephen Daldry – Director Ian MacNeil - Designer Rick Fisher - Lighting Designer Stephen Warbeck - Music Julian Webber - Associate Director Cast LIAM BRENNAN Inspector Goole CHRISTINE KAVANAGH Mrs Birling JEFFREY HARMER Mr Birling SIMON COTTON Gerald Croft EVLYNE OYEDOKUN Sheila Birling GEORGE ROWLANDS Eric Birling FRANCES CAMPBELL Edna PHILIP STEWART Understudy Arthur Birling BETH TUCKEY Understudy Sybil Birling/Edna MACEO CORTEZZ Understudy Gerald Croft/Eric Birling RUE BLENKINSOP Understudy Sheila Birling

HIGHLIGHT: Q+A with Christine Kavanagh

Published on by Tabitha JamesLeave a comment

We sat down with Christine Kavanagh who plays Mrs Bingley in Stephen Daldry’s production of JB Priestly’s classic thriller An Inspector Calls on a 30th anniversary tour of the UK.

  1. An Inspector Calls is an absolute classic in the theatre world – how does this production bring a new light or energy to a play most audiences will have experienced already?

We are lucky that An Inspector Calls is studied so much in schools, and so we can bring this production to people, and we love having schools in our audiences, other works are not performed nearly so frequently. People often think of plays like this as being stuffy period dramas, but the reason this production by Stephen Daldry is a landmark production is that it is given its full weight. It was first staged in 1945 in Russia and written as an experimental piece of theatre, and this production stays with that. Everything you think you’re going to see at the theatre is turned on its head. You think you’re going to see a costume drama, but it seems to be 1945, you think you’re going to see a set that is grounded but it appears to be floating mid-air. I cannot urge people to come along to see An Inspector Calls enough, not just because of this incredible production but also because the actual message of the play is so important – that we are all responsible for each other and that privilege and wealth need to be examined. It’s not a bad message for our times. It’s not a play that people see that frequently, and if it’s your first experience of theatre then it’s a great place to start.  

  1. Stephen Daldry, your director, has a fantastic track record – how have you found the rehearsal process? Is it part of your career’s allure/benefits to work with a range of directors in your career and experience different approaches?

I’ve been fortunate in my career, as I have been in the business over 40-years, to have worked with some truly great directors including Trevor Nunn, Simon Godwin and now, Stephen Daldry! Of course, it goes without saying that there are some directors who you wish to work with, and Stephen Daldry is most definitely in that category. He thinks outside the box, which is what most great directors do, he has quite an eclectic career and amazing curiosity. In rehearsal it has been a treat as he seems eternally youthful and still has the joy and love of theatre. It was like having a masterclass because Stephen is the originator of the production. My advice to young people is definitely try and work with great directors, and work with great work. When you choose your audition pieces, choose great writing whether it is contemporary or classic. Always choose the best and lean on that strength as well as your own talent. It’s a marriage made in heaven to work with a wonderful director on a great script. 

  1. It’s a big tour you’re embarking on – how do you find all the travel and performing in the same show for so long?

It’s very simple – Angela Lansbury was once asked ‘how do you learn your lines?’ and her reply was ‘It’s my job’. I would suggest this would apply to touring as well, it’s my job! You always have to know what you’re getting yourself in for that this is a touring production with long hours and hard work but it’s a fantastic play and great company. You do have to look after your health and find good accommodation but it is a treat. You meet new people, you meet young audiences and you get to experience art galleries and museums across the countries. It’s a great job! 

  1. Are there any parts of Mrs Birling’s character that you really resonate with? 

Not much, she is a monster, and I am quite a pleasant person, and I have a sense of humour and she doesn’t, but I absolutely do resonate with the fact that she is a very opinionated person, and let me tell you, I am quite opinionated too, but hopefully with more charm and humour than her. I suppose the strongest resonance is that we are both mothers, matriarchs. I don’t resonate with her much at all, but she is a fantastic character to play.

  1. Are there any themes in the play that people might not normally notice that you’d like to point out for them to experience An Inspector Calls in a new way?

Oh I think you should come and see the show and find out for yourself! However, I would say that a theme people don’t often think too much about is time. Priestley messes with time, as does Stephen Daldry. We look at the past and find out how the past affects the future and wanting people of privilege to examine their privilege. The play was written in 1945, during the Second World War, and set it in 1912, just before the First World War. Here we are in 2022 with war happening across the globe. A great line from the play is “We don’t live along, we are members of one society” and we are all responsible for each other, which is not a bad lesson to think about today. The play includes discussion of the exploitation of women, of strikes and of the disparity of pay and wealth, all of these timeless themes. 

  1. Finally – what do you prefer – the stage or the studio (for TV)?

They’re all different, but they are all the same principal – acting. The one that I really love actually is radio, but I do love it all! 

(Tickets and dates can be found here) www.aninspectorcalls.com

REVIEW: Corrina, Corrina at Liverpool’s Everyman Theatre

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Rating: 4.5 out of 5.

A gritty, unedited view of the sexism and trials faced by women on deck

Trigger warning: Sexual assault, racism, suicide

Corrina, Corrina is the modern tale of a woman working onboard a ship. We watch as Corrina (Laura Elsworthy) tries to make her way in this man’s world by putting on a brave face and attempting to ignore and squash any problems that arise due to her sex. This becomes increasingly difficult to achieve as the play progresses. We see her continually wronged by many men from her father to officers and even her friend in the deck crew, Angelo (James Bradwell). We also witness her character progress, with Corrina becoming empowered as she goes from trying to hide her feminine characteristics to embracing them.

The play has a relatively simple plot and very small cast, comprising of only six members. This allows the production to focus on the individual relationships between characters and the mundane interactions and power dynamics onboard a ship. This reveals the small and big things that make life on-deck for women, and in this case, also the workers from the Philippines, very difficult . The simple plot allows large, deep themes such as sexual harassment, racism, feminism , suicide and superstition to be addressed.

The play starts with Corrina getting the job and the captain claiming to be progressive in hiring her, and we start to see her interact and befriend the deck crew : Angelo, Rizal and Rafael, quickly becoming particularly close to Angelo. The first half of the play is more lighthearted with brief bursts of comedy as characters get to know each other. It then starts to take a darker turn when we are introduced to the other deck officer: Will (Mike Noble). Corrina met Will previously in training and has since purposefully lost contact with after an incident last summer.

Interactions between Will and Corinna are strained from the start with awkward jokes and references to last summer from Will. As the play develops, Will becomes more persistent in his pursuit of Corrina and displays erratic behaviour. He escalates his behaviour, lying at one point to get her alone in a room with him. During this intense scene we finally discover what happened last summer as Corrina reveals that anything that had happened between them was unconsensual. Will responds by positioning himself as “the victim” in the scenario and later lies to the captain when Corrina tries to make a complaint against him. Mike Noble does an excellent job of embodying this horrible character, and I found myself reminding myself he was an actor in order to prevent myself from hating him. At the conclusion of the play we see Corrina stand up to Will empowering both herself and the audience.

Throughout the play I was impressed by the use of the space and set to create different scenes. Of particular note, and poignance, was the projection of roiling water to portray the turbulence in Corrina’s head as she faced the events of last summer.

Overall, this play was a moving piece that managed to capture the raw grittiness of life on board.