Review: THE HAUNTING OF HILL HOUSE, Richmond Theatre

Shirley Jackson’s 1959 gothic novel skyrocketed back to recognition in 2018 when it inspired Mike Flanagan’s Netflix sensation of the same name. It’s time for theatre to get its share now, with Stef Smith (of Nora: A Doll’s House fame) adapting Jackson’s original material into a ghostly examination of resentment. Paranormal investigator Dr John Montague has invited a handful of guests to help him find scientific evidence of the existence of the supernatural at Hill House. As the group begins to experience a series of unexplained events, it becomes apparent that there’s more to the mystery of Hill House, and our characters need to look inward. Directed by Martin Constantine, it’s a decent choice for this spooky season.

The fusion of projection work (Duncan McLean), lighting (Chris Davey), and sound (designer Johnny Edwards and composer Harry Blake) builds a steady, reliable atmosphere. Surprisingly, Constantine keeps the customary jump-scares of the genre to a minimum. He opts to emphasise the subtleties of the story, driving his audience to retreat into their seats more than jolt in fear. Creaky doors, temperamental lightbulbs, and intermittent knocking establish a whimsical eeriness. The production design is effective. As a whole, however, the show presents an array of flaws. 

The most evident is that there’s little cohesion in the performances. Clancy Ryan is notable as Eleanor, who gradually spirals into a vortex of grief and obsession. She starts off as an unassuming figure who diminishes herself and watches from the sidelines, but grows into an impressive central character. Her portrayal is nuanced and measured, though it struggles to take up the space it deserves. Sian Howard is equally intriguing as Mrs Dudley, Hill House’s loyal, cantankerous housekeeper. She lurks and hovers with a creepy vibe. 

Jasper Britton and Jemma Churchill are the Montagues, OTT and intense with their unearthly interests. They amble between quirky and lightly annoying, but they keep the mood up and add a comic vein to the stage. The pair who irreparably alter the tone are Sophie Lenglinger (Theodora) and Robin Morrissey (Luke). She’s histrionic from the get-go, gesturing theatrically and overdoing her delivery.  Her exaggerated assertiveness doesn’t come off as confident as it should, yet it clashes with Ryan’s reserved meekness. On the other hand, Morrissey’s inflections are bland and cringeworthy. Their dynamic is probably meant to integrate a semi-romantic sub-plot, but it’s totally superfluous. 

While the individual depictions can be slightly off balance, the stagecraft is remarkable. The projections are layered, washing over the sets to create dizzying, destabilising transitions. This adds a multimedia quality that secures a specific vibe throughout. Translucent screens shatter the image, increasing the sense of unease. While the scene changes can be on the overlong side, they seamlessly tie the narrative together. All in all, Smith’s adaptation makes for a good night out. It might not be the most profound or the scariest, but it’s chillingly entertaining.

The Haunting of Hill House runs at Richmond Theatre until 10 October before continuing its UK tour.

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