Review: THE HAUNTING OF HILL HOUSE, Theatre Royal Brighton

Stef Smith’s stage adaptation of The Haunting of Hill House is notably an adaptation of Shirley Jackson’s original novel rather than the Netflix series. Having experienced neither, I came to this production with a fresh perspective, ready to be surprised.

And surprised I was…which is putting it mildly.

The story follows Eleanor (Clancy Ryan), a young unworldly woman who joins a small group investigating supernatural activity at the mysterious Hill House, where increasingly disturbing events blur the boundaries between reality and imagination.

On this rainy evening in Brighton the press performance was delayed by 20 minutes at request of the production. One can only assume there were technical issues and given just how much the production relies on the extraordinary work of its lighting, video and sound teams, I’m pleased to report that it all ran like clockwork.  Duncan McLean’s video projections are incredibly effective – shapeshifting from scene to scene with rapid fluidity. Hill House is very much a character in its own right and is given the deference and prominence it deserves by being brought so vividly to life. The house almost seems to breathe, which is deeply unsettling in itself. Johnny Edwards’ sound design had me leaping from my seat and clutching the arm of my companion on multiple occasions and I’m not sure my nervus system has recovered. Mission accomplished.

The action unfolds slowly at first, which isn't necessarily a criticism. I wondered whether this was a deliberate device to establish the characters and their relationships before the more sinister elements take hold. If so, it isn't entirely successful, as several characters feel somewhat underdeveloped. This may well be faithful to the original text, but Luke (Robin Morrissey), for example, seems to serve little purpose in either progressing the story or contributing meaningfully to Eleanor's journey. His presence feels incidental rather than essential.

Theodora (Sophie Lenglinger), on the other hand, is established almost immediately as a compelling contrast to Eleanor. Free-spirited, bohemian, openly queer and self-assured, she represents something of an antidote to Eleanor's repressed upbringing. Where Eleanor is cautious, awkward and seemingly burdened by her past, Theodora appears entirely comfortable in her own skin. Their contrasting personalities create an interesting dynamic, and Theodora's presence offers a glimpse of the freedom and independence that Eleanor has perhaps never allowed herself to imagine. It's one of the more interesting relationships in the production, and one I would have welcomed seeing explored further.

As the action gathers pace, there are moments that are genuinely terrifying, particularly for a self-confessed wimp like me. The more overtly horrific scenes are brilliantly disarming, and Clancy, as Eleanor, is central to many of these moments. She handles them exceptionally well, conveying Eleanor's growing fear and vulnerability with real conviction. The production is particularly effective when it allows the sound, lighting and performances to work together, creating a sense of dread that is often more unsettling than the scares themselves.

Performances are strong across the board, even where the writing doesn't give every character sufficient room to develop. And while the supernatural elements inevitably command attention, it is Eleanor's increasingly fragile state of mind that gives the story much of its emotional weight.

I did, however, struggle at times to unpick the plot. This isn’t a traditional whodunnit, and without giving anything away, audiences may leave the theatre with more questions than answers. The ambiguity is clearly part of the production's intention, but there is a fine line between leaving an audience intrigued and leaving them confused.

That won't appeal to everyone, although perhaps the uncertainty reflects the blurred lines of the play surrounding what is real, what is imagined and what might be something altogether more sinister.

Ultimately, this is an atmospheric, visually striking and occasionally terrifying production, elevated considerably by its technical achievements and a compelling central performance. Not every element of the storytelling quite comes together, but there is something undeniably effective about a production that leaves you questioning what you've witnessed. Whatever its ambiguities, The Haunting of Hill House certainly stays with you.

Reader Reviews

To post a comment, you must register and login.