The Haunting of Hill House is a newly adapted play based on Shirley Jackson’s 1959 novel. In 2018, Netflix adapted the story into a 10-episode series, and the story is now taking centre stage at the Richmond Theatre. Martin Constantine directs this two-hour play, adapted for the stage by Stef Smith.
The play is set entirely inside the walls of Hill House, an 80-year-old house with a complex history. The Crain family once lived here, until Mrs Crain and daughter Mary died in the grounds, leaving Mr Crain grief-stricken and alone. He lived in the house for another 40 years until his death, when the house is passed to distant relative Mrs Sanderson, bringing us to the present day.
A local anthropologist, Dr Montague, asks to conduct research into the rumoured paranormal activities at the house, gathering a group of like-minded people together. There’s Luke, nephew of Mrs Sanderson who is there as a ‘family representative’, Theodore, who wants to escape her own life, and Eleanor, who recently lost her mother and is grappling with the weight of her grief. The unlikely group come together to understand Hill House and its ‘eccentricities’, and in doing so, try to understand their own intricacies.
Grief is an emotion that connects all of these characters, and stands to explain their deep interest in this house. Luke’s parents both died, the Montagues’ 19-year-old son died during the war, Mrs Dudley lost her husband, and Eleanor arrives still reeling from her mother’s death three months earlier. Theo is the only one whose grief is not mentioned, but it’s clear she’s running from something in her life. It seems as if the house itself could be a way to clear these characters’ consciences over their grief, or even to connect them to the ‘other side’.
While grief is deeply embedded in Eleanor’s being, it feels rather fleeting for the other characters. There is a tender scene between Luke and Eleanor where Luke discusses his grief and his own feelings towards the house, but then it’s not mentioned again. Similarly, the Montagues reference their son’s death but then the dialogue quickly moves on. It would be interesting to delve into each character’s grief and their own reason for being there a little deeper than it currently goes, but this doesn’t take away from the overall production. It would simply be an interesting point of development in our understanding of the characters.
This adaptation boasts a strong cast who come together to deliver a brilliant, unified performance. Jasper Britton is Dr Montague, Sian Howard as Mrs Dudley, the maid who knows to never stay beyond the darkness, Sophie Lenglinger as Theo, Robin Morrissey as Luke, and Clancy Ryan as Eleanor. Ryan is compelling as Eleanor, a performance which takes her from curious to cautious to enraptured by the house, ultimately grappling with her will to stay and everyone else’s desire for her to leave. Jemma Churchill joins the cast in Act II as Mrs Montague, disagreeing with her husband over their methods of research, and methods of contacting their long-dead son.
Ti Green’s set design is fantastic, working alongside Chris Davey and Johnny Edwards’ lighting and sound design to fulfil its purpose of creating an eerie experience for the audience. Duncan McLean’s video design adds to this, bringing the house’s blueprints and structures into focus. The creaking doors and flickering lights, while very basic horror elements, work to create supernatural illusions that feel fit for purpose and suitably spooky.
If you know this story, then you’ll have a good idea of what to expect, although it’s impossible to predict the jump scares or the way the climax unfolds in this stage adaptation. The script is peppered with humour, which is welcome comic relief in this suspenseful play. It’s a well-crafted book-to-stage adaptation, and is a play that keeps you thoroughly on the edge of your seat.
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