Horror, comedy and thriller lurk onstage through this double-featured show presented by the young Just A Regular House company. Guillermo Nazara shares his views on the plays, to let us know if these terror-themed pieces literally looked a fright.
Thank you… for that MARVELOUS introduction! Sorry, I couldn’t help it. I just like complimenting – especially when it’s my own doing. Uh-hum. It’s only a few days time now for the dead, living and undecided to merge together in the creepiest festivity of the year… No, I mean Halloween – family reunions start next month… The London scene is, of course, no stranger to the occasion. And so, it’s throughout these last weeks (and last few days, especially) that its essence appears to be taken by the clinking chains of playful spooks. And maybe some demonic forces too but we already know how some producers are.
The Barons Court Theatre is indeed a perfect spot for the macabre to go loose. A dark, cavernous cellar buried under a pub, the oblivious laughters filling the air can’t even imagine the horrors that may unravel downstairs… Enter We Are Monsters, a supernatural thriller dealing with the goulish legends of the haunted North, and how twisted its reality (if that’s ever possible) can get…
Written by Joseph Ryan-Hughes, who also stars with the most memorable rendition of the whole cast, the piece blends humour and nerve to create a bumpy, yet enjoyable ride through the realm of the unknown. A young-adult take on the traditional ‘ghost story’ plot scheme (with a final R.L. Stine signature style twist), the script relies on well-structured dialogue with occasionally clever observations. However, its speedy rhythm, though exhilarating at the beginning, ends up triggering a feeling of rush – not allowing all of its arcs to fully develop, probably due to too many elements jammed in a tale that’s only been given 45 minutes to unfold.
The situation is reversed in Glass, a psychological thriller revolving around a mysterious call that will uncover the most unexpected secrets. Written by Connor McCrory and following a similar narrative as 2000s film classics like Phone Booth or even Scream‘s opening, the script mixes some minor occult components with a more rational approach – making the horror stem from the danger dwelling on the other side of the line.
A gripping and much promising premise, its delivery is nonetheless hindered by its slight lack of tension – parting from an idea of menace that, despite keeping the interest, does not completely grow as one would expect, not providing us with enough turns or either leading to a more satisfying (though harrowing) climax. Once again, the performance does count on a much compelling rendition also given by its own author – with McCrory’s portrayal featuring stand-out moments of piercing veracity and discreet magnetism.
With both shows directed by Zach Wyatt, We Are Monsters and Glass rely on shrewd, attention-gripping concepts that also serve as a kind homage to some of the icons that have given shape to the genre. Yet, it’s still in need of a more polished voice to unleash the potential that, though palpable, hasn’t been completely left out of its box. A little more simplicity could be the key to make the scare finally jump – and to turn the nightmare into a dreamy result.
We Are Monsters and Glass play at London’s Barons Court Theatre until 4 November. Tickets are available on the following link.