Rosie Patterson
(2 Reviews)

A mansion in the hills. Unexplained noises, spirits roaming the halls. All formulate to create the perfect supernatural tale, The Haunting of Hill House. From best-selling novel to a Netflix series, the classic ghost story still lives on, this time in a gripping stage adaptation. I was completely new to this story, but I am no stranger to genres like the supernatural, as  I am surrounded by friends who love anything related to ghosts or horror.

The Haunting of Hill House follows the story of the enigmatic Hill House; a house so haunted the caretakers refuse to stay overnight. Two individuals invited by Dr Montague, who is determined to record the paranormal activity that goes on within the house. These individuals, Eleanor and Theodora, have all had some experience with supernatural events. They are also joined by the eventual heir to the house, Luke. As the play progresses, stories and reasons are revealed, bonds are formed and broken. Even as the play ends, it ensures it will leave you to question, are we haunted?

Clancy Ryan (Singin’ in the Rain, Cabaret, South Pacific) is the troubled Eleanor Vance. She is haunted by her grief, which is more than meets the eye. She believes her mother’s spirit is following her, something that many others cast doubt upon. Many occurrences lead to an eventual revelation, leading to the implication that the paranormal may be to do with ourselves. Sophie Lenglinger (Privileged, Stags, Whitetail) plays the charismatic Theodora. A character rumoured to be telepathic, Theodora brings light into the room and shows affection towards Eleanor, but as events go on, she begins to withdraw, blaming her for certain happenings within the house. Sophie Lenglinger does a wonderful job of portraying a loveable but flawed character. Jasper Britton (Midsomer Murders, Hijack, Heartbeat) is Dr Montague. He is the reason all individuals are there, as he is intrigued to their experiences with the paranormal. He is adamant he will capture the various occurrences, even after they begin to put the others in danger. He is the driving force of the investigation, along with his wife, Mrs Montague, Jemma Churchill (Waterloo Road, Call the Midwife, Alma’s Not Normal). Both characters show an interest in the supernatural, as Mrs Montague has suffered a devastating loss herself. Their belief in the ghost activity becomes almost frustrating, as the play takes a shocking turn, both Mr and Mrs Montague turn a blind eye to it.

Robin Morrissey (Coronation Street, Holby City, Doctors) plays the heir to Hill House, Luke. A character who is troubled by his past, and his treatment by his father. Robin Morrissey portrays this character wonderfully. A fascinating yet cowardly character, fleeing as soon as he can.

The fascination did not only lie in the characters. The set was an impressive feat, designed by Ti Green. The set was a simple room, made up of multiple doors, however, the use of projection brought the story to life. A screen in front of the set created a 3D effect, as if the house were being constructed before our very eyes. This set certainly took the audience aback, as the projection created multiple illusions, such as shattered glass, a staircase, and rain.

One element of the show that truly stood out was the sound. Designed by Johnny Edwards, this was hugely significant to the supernatural, as it created another immersive element which added to the chilling atmosphere. From the very first bang, the sound is crucial to the story. From eerie singing, lights shattering and doors banging, sounds certainly played a huge role in the feeling that we were also in Hill House, which did not fail to impress.

Overall, The Haunting of Hill House is a show that will have you on the edge of your seat. A play that explores how things may not be what they seem, how people may present themselves differently to who they truly are. It is more than just a spooky ghost story. It is a tale of grief and underlying secrets that reveal themselves at the worst moments.

WE SCORE THE HAUNTING OF HILL HOUSE...

Beware my lord of jealousy! Tis that you may be jealous you have not caught Othello at HOME Theatre. One of Shakespeare’s classic tragedies is brilliantly brought to life once again. Having studied it at A Level, Othello has been a favourite text of mine. Despite being written over 400 years ago, I am always enthralled by each production I see of this play. However, I must admit that HOME theatre’s production has been one of the best I have seen yet. Compared to the original play, this version of Othello takes a place in a modern society. Set in the Falklands War in the 1980’s, Othello follows army general Othello, a praised man of noble status and has just married the loyal and loving Desdemona. However, his love for her is tested and twisted as he is manipulated by his ensign Iago. Envious he has not received a promotion to Lieutenant, Iago plots to ruin Othello’s idillic life, by spreading rumours about his wife’s fidelity. What follows is classic Shakespeare, a tale of anger, love, lies, and paranoia.

Dwane Walcott (Believe Me, A Town Called Malice, Our Girl) delivers a striking performance as Othello. An emotional performance, as the audience sees a progression from a loving husband and admired army general, to a character so paranoid, it created a tense atmosphere that both the characters and the audience could feel. Phoebe Smyth (Frayed) plays the forever loyal and innocent Desdemona. She plays an astounding version of the character. Through her performance, Desdemona is initially a playful and loving character. As Othello grows more paranoid and violent, she slowly becomes hesitant and fearful. Maanuv Thiara (Line of Duty, Trigger Point, Ted Lasso) is the villain, Iago. A character that is so desperate to ruin Othello’s life, he will find anyway to justify his actions. His character was enthralling to watch, as he cleverly played Iago’s façade. The man that every character knows as honest and knowledgeable Iago, however, the audience knows he is of no honesty. Matthieu Sys (Ben X, Hidden Assets, 13 Commandments) is Iago’s sidekick, Roderigo. He too plays a desperate character, but for a different reason. He is in love with Desdemona, and he finds himself also manipulated by Iago. A character that will do anything if it means eventually interacting with Desdemona. However, for Iago, Roderigo is nothing but a chess piece, and Matthieu Sys does an excellent job demonstrating this. Rebecca Banatvala (Vigil, Eastenders, Emmerdale) is Emilia, Desdemona’s attendant and Iago’s wife. She portrays a wife that is originally subservient to her husband, following his orders if it means getting his attention. Her subservient nature us lost as she defends Desdemona, which has disastrous consequences.

The impressive element does not end there. The set, designed by Natasha Jenkins, was stunning in how it contributed to the story, despite its simplicity. Throughout the beginning, the set was simple, yet effective. It appeared like an army camp, with one singular wall, but as the characters headed to the Falklands, this wall collapsed to become a platform. This was astounding, as what was originally a camp was transformed into something like a cage, as the tense atmosphere heightened. I must also credit the sound, designed and composed by Matthew Tuckey. A soundtrack that sounded like a heartbeat, then gunshots, added to the eerie atmosphere. Through the play’s bleakest moments, there was a complete lack of sound, apart from a simple, buzzing-like sound. As an audience member, it felt as if you were in the room with them. The lighting, designed by Jack Hathaway, contributed greatly to the fearful atmosphere. In one scene, it was a simple light, as if coming from a window, that shone on just Iago as he addresses the audience, eliciting the feeling that he is addressing you, as if you are in on his plot. Overall, director Anthony Almeida puts an excellent modern spin on the story, as well as a sense of realism. All of these elements contributed to the progression of the story greatly, from the absence of sound, to the simple yet effectiveness of the set.

One significant element of the play, that I certainly was not expecting, was the use of live recording. Roderigo brings on a camera, which records the characters live as they deliver their lines, and projects it onto the screen behind the set. This added to the emotions of the story, one such example being an interaction between Desdemona and Othello. From the audience, it appears as just an argument, however with the camera, we saw Desdemona up close, which felt deeply personal, as the camera captured a single tear, which I would never have seen in the audience. This let the audience know the characters on an emotional level, letting us understand their pain a little deeper. This play did have their elements of fun too, as the audience was treated to an impromptu singalong to classic Come on Eileen. We were encouraged to sing along, as if we were partying along with the characters. This production of Othello had multiple additional elements I was astounded by, which further added to the personal nature of the story.

I know that when people walk into a production of Shakespeare, they expect it to be boring, with a storyline difficult to understand. However, HOME certainly tests this notion. We were presented with relatable characters, humorous elements and a story that is not to be missed. This production proves that the writing of William Shakespeare still lives on, through modern retellings and interpretations. With twists, revelations and unexpected moments, Othello ensures to pull you in, but not let go.

WE SCORE OTHELLO...