Review of ‘Crybabies: The Scaring’: “Horror parody show is frightfully hysterical”

There are three possible outcomes when making a horror story: it can be either terrible, terrific, or terrifying. This one happens to be the last two. Despite the humour (and trust me when I say that there’s A LOT of that), you’ll still find a few solid screamers in it; if you don’t believe me, ask the lady sitting next to me about her intentions to grab my arm (oh, wait…). And even if those don’t have any effect on you, the fact that a parody version is more gripping, better structured, and even more poignant than 90 per cent of the real genre’s current offer is pretty scary anyway.

And so, I can’t think of a more appropriate title for this show, which fits it like a glove while slightly underpromising its quality. Crybabies: The Scaring is the direct result of mixing a playful attitude to present a curated product; on the surface, it doesn’t take itself too seriously, but its elaborateness is evident. So is the cast’s sense of fellowship, coming across as a group of friends just fooling around. Being wonderfully talented performers (especially Ed Jones, with an outstanding range and imperfect but good-enough-for-comedy singing) can’t hurt either.

The script does an excellent job of compiling nearly every possible stock role and premise while simultaneously concocting a somewhat original plot. The references are endless, extending from major classics such as The Exorcist (with a bit of a homosexual twist) as well as Dracula and Frankenstein to more generic elements such as the haunted house setting (in this case, a cursed hotel), séance scenes, or the unfinished-business ghost archetype.

For the most part, it works — and it does so extremely well. Its fluid rhythm secures an engaging narrative, with the action staying at a high point. A couple of moments would benefit from extra tension. And some jokes (whether those be punchlines, curveballs, or physical comedy) are a tad predictable. But even so, the cast makes them refreshing, owning the cliché and somehow improving it through their extraordinary timing.

Although some later sections of the script come off a little rushed, the overall feeling is of a well-developed recount. And despite the drollery, all its main characters are compelling. Their arcs are simple but satisfactory. And no matter how laugh-inducing their journeys are (some skits are so memorably funny they’re on the verge of iconic), there’s room for pathos; not much (not that it needs much), but enough to let us care about them.

Its resourceful scenic design (credit to Cecilia Carey) instantly transports audiences into the story’s universe with a dynamic, deliciously theatrical approach that blends repurposed practical sets and screen projections. In addition, Bethany Gupwell’s lighting creates an eerie atmosphere that emphasises the duality between the show’s humorous nature and its Gothic undertone. And although John Bulleid’s stage illusions don’t bring anything new, they still come across as a pleasant, well-executed surprise.

With that in mind, there are hardly any reasons to avoid a show guaranteed to lift everyone’s spirits, since there’s only a ghost of a chance viewers won’t like it. It might not be genius, but the intelligence behind it is undeniable. And with a few touch-ups here and there, it could become one of the best of its kind — a position it’s already a few inches from. It might dwell in the darkness, but it’s blindingly brilliant.

All pictures credit to Mihaela Bodlovic.

Crybabies: The Scaring plays at London’s Soho Theatre until 23 September. Tickets are available on the following link.

By Guillermo Nazara