Review of ‘Ghost Stories By Candlelight’: “Adult ‘Goosebumps’ show sets a higher stein-dard in the genre”

Following an extensive national tour for the Halloween season, the show concluded its run this weekend at London’s Battersea Arts Centre, bringing back the mystery, spooks, and shivers under the guidance of BAFTA Award-winning director Ellie While. Guillermo Nazara shares his views on the show to let us know if its spirited narrative is likely to turn viewers into ghoullible believers.

“Dad used to say that men that cross their legs either wanna f*ck you or judge you”, says the volatile teenager as he looks me directly in the eye. He’s got a point, though. For the umpteenth time, I’ve been summoned to sit through a performance and write my bile-spewing thoughts about it. And about the former, well, I guess that it takes one to know one. I can’t blame him for the attitude, however. With so many flaws to his credit, he has every reason to be angry — he’s aggressive, homophobic, probably not the brightest bulb in the box, and to top it all, he comes from Swindon. Oh, and also, he’s experienced a ghostly apparition in his own flesh.

Mariah Carey has defrosted, and nothing screams horror louder than that. But that also means that the Halloween repertoire could be extended for a little longer. After all, if the original run of The Exorcist opened for the Christmas season, what’s stopping us from enjoying a handful of spectral anecdotes during the first week of November? And enjoy them you will.

If you’ve seen the allegedly panic-striking West End show at the Peacock Theatre, you’ll be more than acquainted with the constant overpromise that plagues this genre — especially in the theatre. They’re hardly spooky and often pointless. In that aspect, Ghost Stories By Candlelight comes across as an unsettling relief. It serves its purpose in a frightfully beautiful way, and it demonstrates, to a considerable length, that there can be a difference between horror and horrendous storytelling.

Don’t expect to have a heart attack while watching it, though. It’s not that kind of piece. It doesn’t need to be, either. The jump-scares are guaranteed, and so is that delightfully overpowering feeling of uneasiness — at least, for half of the performance. But much like with many subjects in Stephen King’s literary empire, you will be creeped, but never terrified.

That may be part of the play’s magnetism. It doesn’t cross the line of what regular audiences can bear — North West already pushed enough boundaries for us last year. Consequently, our investment in the narrative can only rise. We’re never given the chance to lower our guards. But at the same time, it doesn’t get so extreme that we must shut our brains down in self-defense.

It’s a thoroughly entertaining experience where action, pathos, and mythos are deftly combined to create a recount as gripping as it is resonant. Devised as a collection of four independent plots, all the characters have depth and individuality. They stay away from traditional archetypes and, despite the show’s brief duration, are given enough space to build a solid arc that instantly clicks with the viewer.

Assembling four different accounts by separate authors, both the staging and dramaturgy do an excellent job in transitioning seamlessly from one episode to another. Writer Clare Slates appeals to the concept of a white horse as the nexus that interconnects every tale. First, it’s a ghostly apparition. Next, it’s the name of the pub where the story is set. Later on, it transitions from that discreet (ish) Easter Egg into a full-fledged paranormal macguffin.

It’s a nice touch that effectively contributes to the script’s cohesiveness, supported by director Ellie While’s clever blocking, particularly during the scene changes. Staged in a dilapidated warehouse-looking room, every excerpt is delivered as a monologue. The sense of intimacy is marvelously achieved as a result. At many moments, it would appear that the character is talking directly to each one of us, almost as if no one else were around.

Yet, While’s true craftsmanship unravels during the gaps between the recounts. As one actor exits and the next comes onstage, a blend occurs — subtle and uncomplicated yet powerful enough to leave an imprint and, ultimately, consolidate the piece’s overall vibe of togetherness, intricacy, and craftsmanship.

Its eerie atmosphere permeates through Jonathan Chan’s striking lighting, but it’s perpetuated by Keaton Guimarães-Tolley and Sarita Gabony’s compelling renditions. Although both defend their roles with great competence, Guimarães-Tolley’s wide-ranged portrayals as a troubled adolescent and a clueless vlogging celebrity-wannabe earn him the highest praise — presenting us with a faultless execution whose utmost credibility is admittedly the scariest part of the entire show.

They could have expanded the narratives a little more. And perhaps the second tale’s blatant inspiration from Ed Gein’s (artistically known as Norman Bates) case could have been a bit more cautious. Yet, those flaws are almost imperceptible in a context where quality crushes the rest of the picture. Absorbing plots, enthralling staging, and superb acting make Ghost Stories By Candlelight a flaming display of talent, resourcefulness, and dedication that’s unlikely to get on anyone’s wick. No need to get shady about it.

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All pictures credit to Ali Wright.

Upcoming performances of Ghost Stories By Candlelight will be available on the following link.

By Guillermo Nazara