This is one play, by Stef Smith, based on the novel by Shirley Jackson, where the premise is in the title. A rambling mansion in California is occupied solely by a housekeeper who has promised the late owner she will look after it for as long she is able. She is unbothered herself of reports of ghostly happenings but a time-served paranormal investigator is determined to identify what is happening and two young women have answered his advertisement for assistants. The son of the owner who has been living for years in Europe has decided to come over to join them, knowing something about the dark history of the house, which includes two deaths.
Not long after everyone has arrived and retired to their rooms, things start happening but this is not your average ghost story because one of the young women has her own dark secret and the motivations of the investigator extend beyond simple curiosity. The mood is certainly more akin to Daphne Du Maurier than Dennis Wheatley with both the psychological and past revelations reminiscent of a darker version of an Agatha Christie country house story.
The basic plotline is very simple but what really creates the atmosphere and holds the audience, is the astonishing staging and effects, coupled with some fine acting. There are echoes of ‘The Woman in Black’, with loud bangs and black outs but this is all done quite stylishly. Paranormal happenings with the lights on are also very convincing (note. extreme resistance here to give away spoilers). Ultimately though, this play is as much a psychological thriller as a ghost story and there are deep, haunting memories in characters’ back stories which have nothing to do with the house or the paranormal, but which are never-the-less triggered by the deeply unsettling scenario.
An important strength of this play is that the characters are credible and are seen to go on their own separate journeys. The two young women are complete opposites; Theo, played by Sophie Lenglinger, is a bright and confident, a stylish dresser and up for some excitement. Eleanor, played by Clancy Ryan dresses conservatively and has a shy, retiring personality. As events progress, we see both women undergo radical changes, each interacting differently with Luke, the son, played by Robin Morrisey. None of them leave as the same person in which they arrived. Dr. Montague, the investigator, for quite some time has the aura of a detached academic but he is holding something back.
Special mention must be made of Mrs. Dudley the housekeeper, played with complete emotional detachment by Sian Howard. This character provides virtually the only element of humour in the entire play, telling each guest to carry their own bags and when asked politely for the most basic favours replies that she does do requests. Her manner maybe slightly caricatured but it sets the scene that she looks after the house alone and has every desire to keep it that way.
Director Martin Constantine has made full use of all the powerful changes in lighting and special effects, with actors on numerous occasions appearing just seconds after a blackout in other rooms, sometimes in different emotional states, adding greatly to the paranormal atmosphere. There is a cinematic quality to the brilliant use of front and backscreens, coupled with projections, variously enabling rooms to quickly transform into other parts of the house (with some changing of props) or simply presenting powerful animations to chilling music or scary sounds. This play is as powerful a visual stage experience as you are likely to see anywhere, anytime some.
This is a genuine thriller and an awesome visual experience with an ultimately sophisticated underling story. The set is remarkable and the ending will stay with you.
https://thehauntingofhillhouse.co.uk/
Reviewer: John Waterhouse
On: 3rd November 2026.
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