Having frequented the Manchester Opera House many times previously, usually for musical shows or comedy acts, I found this production to be refreshingly different in this theatre space.
'The House On Cold Hill' is a modern day supernatural thriller, adapted from Peter James’ novel by the same name; and is set in an old mansion full of nooks and crannies. There are a few changes from book to stage; the most notable of which is probably the daughter’s age. In the novel Jade is 12 years of age, whereas in the script she has been matured to 16. This could merely be a logistical choice due to casting a minor. However, I saw no issue with this change.
A dilapidated Georgian house with a mysterious history of death; the story begins with a family having recently moved into this, their ‘forever home’, as they call it, much to the dismay of their daughter. The family is made up of a husband and wife; played respectively by Joe McFadden and Rita Simons; and one teenage daughter mentioned above, played by Persephone Swales-Dawson. They soon come to learn of their new home’s reputation in the village and it is not long before they begin to also experience it for themselves.
The historical and mystical setting is blended with modern day technology and references to create a contemporary horror story for an audience of today that even younger viewers can enjoy (and there were a few in the audience). This blending was almost seamless, thanks to director Ian Talbot.
It is never an easy feat to present a live thriller on a stage as the audience expects to be startled and shocked from the outset. Although some elements of the production were to be predicted, the audience was, at times, surprised; particularly as the play progressed into the second act. This was a success largely due to the elaborate set design by Michael Holt, coupled with the sound, lighting and visual effects (thanks to Martin Hodgson, Jason Taylor and Nina Dunn). This really was a production that played on the senses as well as removing them in moments of darkness. All of these effects were timely and sophisticated, allowing for the suspension of disbelief. This was further added to by the wonderfully jarring and discordant music, designed specifically for this production by Nick Lloyd Webber.
All of the cast seemed to have impressive credits under their belt and are clearly all well acquainted with a stage of this size. Having said this, some of the lines were at times lost in such a large auditorium. No microphones were used by the actors so this is perhaps to be expected. Despite this, all actors performed well and sustained a good pace throughout, prohibiting moments for audience members to become disinterested. Rita Simons and Leon Stewart (playing Phil) both gave well rounded and credible performances. Mention must also go to Tricia Deighton, who played Annie, a supernatural connoisseur, as she delivered her amusing lines with great timing, providing much needed comic relief.
The production was impressive overall and there was clearly a lot of time consuming and notable elements involved, both on and off stage. If you’re in need of a scare, this may not be the production for you. However, if you want an accomplished and well-rounded piece of theatre in which all of the elements involved blend seamlessly to create two hours of entertainment and escape, then you will enjoy 'The House On Cold Hill'.
Reviewer - Megan Relph
on - 14/5/19
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