★★★★

“Each bump, jump, scare and shock comes as a surprise in a perfectly paced and executed telling of the tale”

“As you enter, hold your nerve. As you exit, hold your tongue. Keep our secrets.”

The fact that we are handed a note containing a personal appeal from the writer to ‘keep spoiler secrets’ leaves me wondering what I can actually write about. Levi Holloway’s stage adaptation of the “Paranormal Activity” film (and its many offshoots and sequels) has enough white-knuckle twists and spine-tingling moments that, when taken away, leave just the bare bones of a chilling narrative scattered on the floor. It kind of makes my job easier in a way. The impact of this show relies on emotions rather than words and director Felix Barrett, along with illusionist Chris Fisher, tap into them like a sadistic surgeon’s catheter. There is the initial shock, followed by a tenuous sense of relief from knowing that we are, in fact, in a safe environment; surrounded by like-minded members of the audience. Often the gasps morph into nervous laughter.

I never saw any of the original film franchise, that featured the ‘found footage’ technique, whereby the characters are filming the story for themselves as they go along. This has been dispensed with for the live version (I think I’m allowed that spoiler?). Instead, the focus is on a normal couple. Two people in a two-storey house (Fly Davis’ set is a chillingly authentic reproduction of cosy suburbia, but with some dark corners where the shadows start playing tricks on our imagination). James (Patrick Heusinger) and Lou (Melissa James) have moved from Chicago to London, ostensibly to escape the evil presence that has been possessing Lou since childhood. They quickly discover, however, that places aren’t haunted, but people are (I am definitely allowed that one – it’s one of the shows taglines). Heusinger and James portray the couple with a naturalness and an almost humdrum domesticity. Until they are wrenched from everyday life into sleepless nights.

There has to be a reason for the supernatural goings-on. So, James brings in charlatan exorcist Etheline (Jackie Morrison). On this note – Holloway successfully slips in whisps of humour that, not just distracts from, but also manages to heighten the sense of impending fear. A sense intensified by Gareth Fry’s sound design and then taken to impossible heights by Anna Watson’s lighting, which are integral to the narrative. Watson paws at our senses, caressing the corners of our eye before plunging us into darkness or else revealing what may or may not be lurking in the corners of the house.

We are sometimes taken out of the moment by the trickery, and consequently wondering how they did it, but that is all part of the enjoyment of the journey. The story itself doesn’t require that much effort, until the final twists take our breath away. Teasers are continually provided by James’ mother, Carolanne (Pippa Winslow), who spends a lot of time at the other end of a video-call to James. When she eventually appears in the flesh, our own flesh is left tingling somewhat.

The four performances are quite outstanding, and give the impression that they are as fresh to the story as we are. Each bump, jump, scare and shock comes as a surprise in a perfectly paced and executed telling of the tale. I wish I could tell you more, but I’m minded of Holloway’s instructions in the press pack to ‘keep our secret’. So, it’s up to you. There’s only one way to find out. I’d urge you to… if you dare.

AN INSPECTOR CALLS at the Alexandra Palace Theatre

★★★★

“a magnificent spectacle of a classic play that continues to engage”

J B Priestley’s ‘An Inspector Calls’ continues its over 30 year run on tour this year, and I was lucky enough to see it played at Alexandra Palace. Like most people, I first read (and adored) the play at 15 for my GCSEs, however, I never got a chance to see it until now. I’m glad to say my high expectations were not disappointed.

It’s 1912 and the upper class Birling family are celebrating the engagement of Sheila Birling and Gerald Croft over dinner. Yet, their celebrations halt when Inspector Goole pays them a visit, and informs them of the death of a local lower class woman. Through his investigation of the family, they become shaken by their involvement in the woman’s life and their clear contributions to her death.

The play is none traditional in its portrayal of the text. The family’s introduction is framed from an outsider’s perspective – due to the fantastic design of Ian MacNeil. A house where the Birling’s is hoisted above the stage, which appears as a destroyed and blackened street. The opening scene is played within the house, while others watch them on the street. An interesting portrayal of the hierarchical society in which we live. I was a little apprehensive at this point, however, due to the overuse of haze on stage that practically blocked all sightlines, while it was also quite hard to hear the actors’ dialogue. Mics are used, but I fear they were too quiet against the echoey space. I think the opening scene is key in introducing the characters, setting up the context and foreshadowing the events of the play, so I would have liked the scene to be visible, rather than wholly playing inside the rather small house. Instead, the set opens up when the Inspector is introduced to the family and – to my relief – the majority of the action takes place downstage.

The cast, with polished direction from Stephen Daldry, shine in their individual roles, with Tim Treloar portraying a highly energetic and unapologetic Inspector Goole. Jeffrey Harmer also stands out as Mr Birling, bringing a lovely sense of youth and charm to a role one would often only see as a boring and business focused villain. The stand out performance for me, however, was Leona Allen as Sheila – a strong portrayal of a woman who is still so childlike in her behaviour, desperately yearning to be heard.

The costumes are traditional to the era of the play – the men wear trim suits perfect for a dinner party. Sheila of course wears an all white gown, perhaps signifying her future marriage or perhaps her innocence. It gets dirtied in the rain, however, once she begins to discover the consequences of her past actions – so I would say the latter. Mrs Birling wears a very glamorous deep red and black gown and is well decorated in pearls and other accessories. Such vampish glamour would appear similar to the ‘evil queen’ characters of many fairytale depictions.

Overall, the show is a magnificent spectacle of a classic play that continues to engage audiences. It’s important to note, that every other review I’ve seen – which date back many years – all state the play is ‘more relevant now than ever’. With the gap between the rich and poor arguably being the same now as it was in the time the play is set, that is especially true in this revival. In the 30+ years this iteration of the show has been performed, it appears the class divide has only gotten worse. One hopes a day will come when the play is not as pertinent as it is today.

Tag Archives: Jackie Morrison

PARANORMAL ACTIVITY

★★★★

Ambassadors Theatre

PARANORMAL ACTIVITY

Ambassadors Theatre

★★★★

“Each bump, jump, scare and shock comes as a surprise in a perfectly paced and executed telling of the tale”

PARANORMAL ACTIVITY

Ambassadors Theatre

Reviewed on 15th December 2025

by Jonathan Evans

Photography by Johan Persson

PARANORMAL ACTIVITY

PARANORMAL ACTIVITY

PARANORMAL ACTIVITY

AN INSPECTOR CALLS

★★★★

UK Tour

AN INSPECTOR CALLS at the Alexandra Palace Theatre

★★★★

“a magnificent spectacle of a classic play that continues to engage”