Imagine landing your dream gig: playing a ghost! But what happens when the pretend haunting turns terrifyingly real?
Tim Foley's ghost story, "It Walks Around the House at Night," presents a deliciously ironic premise. Our protagonist, Joe (played by George Naylor), an actor struggling to find work, is hired by a charming stranger named David. Joe's mission? To don a spectral guise and roam the grounds of Paragon Hall, a grand estate steeped in local legend. His task is to bolster the myth of a resident restless soul, ensuring the spooky tales continue to captivate.
For Joe, this sounds like a dream come true! He can finally clear his mounting debts and, more importantly, flex his acting muscles. However, as the days turn into nights spent wandering the misty woodlands surrounding Paragon Hall, a chilling question begins to creep into Joe's mind: is he truly the only phantom lurking in these ancient trees?
This production by the touring company ThickSkin offers a unique blend of old-school gothic horror, reminiscent of 19th-century literary hauntings, and the heart-pounding jump scares and sudden frights of modern horror cinema. It’s a combination that promises to keep you on the edge of your seat!
But here's where it gets really interesting... The narrative primarily unfolds through Joe's personal narration, drawing you intimately into his experience. Adding another layer of depth is the prerecorded omniscient narration by Paul Hilton, whose atmospheric eloquence is a true delight. You'll find yourself savoring his words, especially when he paints a vivid picture of Paragon Hall's gothic gloom, describing it as if "the ancient valley howled and spat out this house." His reflections on why ghosts might linger on Earth are equally captivating: "Some say it’s because they hurt so much. I think it’s out of spite." It's these kinds of profound observations that, alongside the expertly crafted jump scares, truly make the spine tingle.
Neil Bettles' deft direction brings these moments to life. The scares are meticulously engineered through sudden bursts of sound, light, and projection, masterfully handled by Pete Malkin for sound design and Joshua Pharo for lighting and video. The stage itself, designed by Bettles and Tom Robbins, features a striking backdrop of bare tree trunks that seem to writhe and shake with shifting shadows, enhancing the eerie atmosphere.
Prepare for some genuinely spine-chilling encounters. From Joe's unsettling sleepwalking episodes to the unnerving scuttling of a creature in his room, and a more substantial "thing" whose silhouetted hands eerily resemble Freddy Krueger's, the play delivers on its promise of frights.
And this is the part most people miss... While the spectral entity might appear monstrous, the play hints at something more rooted in the natural world, perhaps drawing on Pan-like mythologies. The story takes an excitingly twisty turn, but be warned: the revelations at the end come thick and fast, and you might find yourself struggling to keep up with the rapid-fire plot developments. As Joe's world unravels, characters like The Dancer (Oliver Baines), Joe's friends, David, and even an ex-boyfriend, all emerge, each with their own unfolding narratives.
It's a lot to pack into a 90-minute runtime. While the play touches upon themes of supernatural "hurt," class privilege, and exploitation, these larger ideas could perhaps benefit from a bit more breathing room and deeper exploration. Nevertheless, the show is an undeniably thrilling experience, packed with "thrills and spills" that are sure to linger long after you've left the theatre and followed you home.
What do you think? Does the idea of a pretend ghost becoming genuinely haunted spark your curiosity, or do you find the blend of gothic and modern horror appealing? Let us know in the comments below!
