To say I was excited to see the new theatre adaptation of Shirley Jackson’s 1959 novel The Haunting of Hill House would be an understatement. The stage play is currently touring the UK until November 14th, adapted for a live audience by BAFTA-winning playwright Stef Smith. I first read the haunting gothic thriller when I was still a teenager, found myself completely and utterly spooked, and outright refused to watch the Netflix TV adaptation purely because it strayed way too far away from the plot of the book.
The new play, however, is a lot more faithful to the original novel. It follows our main character Eleanor Vance (Clancy Ryan) as she heads to the purportedly haunted Hill House to help ghost hunter Dr Montague (Jasper Britton) with his investigation into the paranormal.
Joining Eleanor is the flirty Theodora (Sophie Lenglinger), and Luke (Robin Morrissey), the nephew of the woman who owns Hill House. You’ll also make the acquaintance of housekeeper Mrs Dudley (Sian Howard), and Dr. Montague’s wife (Jemma Churchill).
The Haunting of Hill House on stage is a slick production.
Before the curtain even rises, there’s a jump-scare, and then the production mixes a vibrant blend of videography work, projected across the set with huge moving pieces, with eerie music.
The Andrews Sisters’ 1937 hit Don’t Sit Under the Apple Tree is used as potentially one of the most effective pieces of music I’ve ever experienced in a play, and acts as a recurring motif throughout.
There are plenty of tense moments to be had, and a creepy doll’s house version of Hill House is ever-present in the corner of the stage, acting as a sort of Chekhov’s gun until the very last act. Expect plenty of screams and nervous laughter in the audience as soon as the talented cast takes to the stage. Physical effects, including exploding bulbs and rocking horses that move on their own, add an extra layer to the already frightening atmosphere.
The only place I felt a little let down was the story. What started out as a chilling investigation into the happenings at the manor turned into a sort of obsession Eleanor had with her late mother, who is brought up again and again throughout the play. Eleanor constantly repeats proverbs her mother taught her, and eventually we learn she feels responsible for her death – and sure her mother is haunting the house.
There’s also at least one instance of terrible overacting from Ryan during a rather out-of-place possession scene which is never really linked back to. Keep your eyes peeled for it – you’ll see which one I mean.
