★★★★

“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.

SHOUT! THE MOD MUSICAL

Upstairs at the Gatehouse

★★★

“A rainbow of colourful characters with whom we are able to have tremendous fun”

There is a moment in the second act of “Shout! The Mod Musical” when the ensemble cast come together for a rendition of Mary Hopkin’s ‘Those Were the Days’. Shrouded in poignancy, it is quite a moving moment. A mid-tempo number reflecting mid-life melancholy. The only problem, however, is that we are wondering what those days were. There is very little to look back on, such is the shallowness of Phillip George and Davis Lowenstein’s book. Mind you, there’s little room for one amidst the relentless procession of sixties hit songs. More of a musical revue than a musical. And, viewed as such, it is, in fact, multi-coloured, musical magic. The five performers burst with a kind of tutti-frutti charisma, sharing out the songs between them like kids in a candy store, or an eat-all-you-can buffet of mouth-watering harmonies.

We’re in the swinging sixties, with set and costume (uncredited) that place us in something resembling an early Top of the Pops studio. Along with James Davies’ wig and hair design, the authenticity of the period is fully created, aided further by musical director Gabrielle Ball’s no-frills, sample-free, three-piece band. The girls (we can call them that – it is the sixties) all possess an abundance of energy and singing talent that drives the show at speed through the overflowing repertoire. We are in a living jukebox, where the music is interrupted by a series of short, rather lame, comedy sketches. The premise is intriguing though. Throughout the story, the five characters send letters to Gwendolyn Holmes (voiced by Pippa Winslow), an agony aunt who works for the fictitious style magazine ‘Shout!’. They are invariably disappointed by the useless advice they are given to deal with their situations (for ‘situations’ read ‘love life’). They are nameless, identified only by the colour that they wear. Red Girl (Isabella Mason) is the ingenue of the group who has self-image issues while Orange Girl (Lauren Bimson) is the matriarchal figure struggling to cope with a philandering husband. Yellow Girl (Gabrielle Cummins) has come from across the pond, laden with her cargo of self-confidence and romantic memories. Green Girl (Lauren Allan) is the sex maniac (we can say that – it is the sixties), uninhibited, racy and full of seaside town postcard humour. Blue Girl (Madeleine Doody) is the sophisticate; well-heeled and gorgeous – and she knows it, although we later learn that there is something quite specific that she is unsure of.

A rainbow of colourful characters with whom we are able to have tremendous fun, even if there is no pot of gold at the end. There is little in the way of an arc too, so director Joseph Hodges, with choreographer Jay Gardner, rightly focus on the songs, creating a seamless medley of delight and joy. The likes of Burt Bacharach, Tony Hatch, Sandie Shaw, Neil Sedaka – and many others – are all showcased. Even John Barry, during a lovely Bond pastiche where ‘Goldfinger’ is renamed ‘Coldfinger’. True to its ensemble nature, none of the cast outshine each other, yet they all shine individually and collectively. The chemistry is there but unfortunately the script prohibits any real onstage connection. But the singers easily bypass such quibbles with their strong connection to the audience.

Yes, this show is dated. That is the whole point. At one point a rather clumsy and incongruous use of placards attempts to shoehorn in a hint of twenty-first century credo, but the show doesn’t necessarily need it. This is a musical comedy, and the irony should speak for itself. What is clear, though, is that the music not only speaks for itself. It Shouts! So go ‘Downtown’ and forget all your troubles, forget all your cares. If nothing else, it will make you feel ‘aaaaalllllright!’

Tag Archives: Pippa Winslow

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

SHOUT! THE MOD MUSICAL

★★★

Upstairs at the Gatehouse

SHOUT! THE MOD MUSICAL

Upstairs at the Gatehouse

★★★

“A rainbow of colourful characters with whom we are able to have tremendous fun”