There’s something peculiarly appealing about a horror story that takes place in your own city. Writer Van Badham has crafted an intriguing and creepy tale, delivered in a classical gothic mystery style but set in Adelaide in the mid-19th century. There are the archetypal elements of such a story: a young seemingly innocent protagonist, an old mansion, characters who are reticent with information, supernatural occurrences and insanity. Badham weaves these into a gripping tale.
The atmosphere is thrillingly unsettled, thanks largely to the haunting live musical accompaniment, composed and performed by Richard Wise. Low lighting used throughout adds to the ominous feeling. Claire Glenn, as the sweet and enthusiastic Miss Xaviera Grace, is a strong centre point around which the action plays out. She imbues her character with charm, sadness and a touch of desperation. As the two mysterious inhabitants of the house, Tamara Lee and John Maurice are powerful and disconcerting. The three drift in and out of the action, blending the scenes into one-another to create a satisfyingly nightmarish dreamscape.
The only aspect of the production that really detracts from the experience is the venue. It is difficult to get completely immersed in the story when you are unable to see half of the action. Facial expressions can’t be viewed, important props remain unseen and at times it is more like listening to an audio-recording than attending a play. Insufficient concessions to these issues seem to have been made in the direction of the piece, with much of the action taking place far upstage, on a bed, or at floor level – the views of which are likely to be obstructed for 80% of the audience. While the surrounds of Ayers House certainly creates the perfect setting for this story to unfold, it is not an ideal arrangement to allow the play to fulfill its potential in terms of audience impact and thus, disappointingly, it does not reach the heights it might.
Kryztoff Rating: 4K
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