CRYBABIES: THE SCARING
Soho Theatre
★★★★
“bold, assured and impressively crafted work”
Edinburgh Comedy Award nominees Crybabies burst from the shadows with ‘The Scaring’, a slick horror-comedy parody packed with thrills, spills and actual chills. Backed by Olivier Award-winning Francesca Moody Productions of ‘Fleabag’ fame, this fast-paced horror hybrid is as smart as it is funny.
When a former p-riest officer haunted by the loss of his partner in chrism checks into a far-flung hotel, he soon senses something sinister lurks beneath the surface. Teaming up with a ghost called Gerry, can they crack the case before the hotel’s darkness consumes them all?
Michael Clarke, James Gault and Ed Jones have created a rare beast: a show that works equally well as both horror and comedy. Beneath the barrage of rapid-fire jokes lies a genuinely scary show, elevated by surprisingly effective jump scares and John Bulleid’s inventive illusions. The jokes are woven in seamlessly, serving the story rather than interrupting it, and clever callbacks ensuring nothing goes to waste. And while the plot follows familiar beats and the humour occasionally feels more farce than fresh, its sharp horror references and brilliantly self-aware multi-roling shine. Overall, it’s one of the most seamless unions of horror and comedy I’ve seen on stage.
Director Jon Brittain, with associate Grace Duggan, fittingly goes guns blazing with highly ambitious staging. The striking set (Cecilia Carey) and video design (Nina Dunn) have a cinematic edge, creating some impressive effects and real scares. The pacing is superb, steadily raising the stakes without missing a comedy or horror beat. The choreography is slick and impressive, bringing physical comedy and even scene changes into the fun. It’s bold, assured and impressively crafted work.
The design is also smart and striking throughout. Bethany Gupwell’s lighting and Ed Lewis’ sound are finely tuned for maximum scares, and Carey’s costumes evolve from everyday realism to delightfully grotesque body horror.
Clarke, Gault and Jones are a comic force to be reckoned with, switching effortlessly between characters and showcasing impeccable comic timing. Jones’ elastic acting shines, mixing camp absurdity with gloriously dark punchlines. Gault’s deadpan delivery cuts through the chaos, making the creepy Slimothy all the more unnerving. Clarke’s world-weary priest anchors the madness with real heart, giving the story both emotional weight and a satisfying redemption arc. Together, the trio operate with remarkable chemistry and comic precision.
A wickedly funny horror-comedy parody, Crybabies’ ‘The Scaring’ is a devilishly good start to spooky season.
CRYBABIES: THE SCARING
Soho Theatre
Reviewed on 7th September 2026
by Hannah Bothelton
Photography by Mihaela Bodlovic
