Writer and Director: Joe O’Byrne
Spooky plays are having a somewhat of a renaissance at the moment, thanks no doubt to the massive, continued success of The Woman in Black, Ghost Stories and 2:22 A Ghost Story. While many new productions rely on the name-brand classics like Dracula, Frankenstein and Dr Jekyll and Mr Hyde to sell tickets, it’s nice to see that at least The Haunting of Blaine Manor is an original piece which, while paying homage to various horror genres, still strives to be very much its own thing.
Its 1953 and Blaine Manor is a well-known haunted house that professional paranormal debunker Dr Roy Earle (Peter Slater) is visiting. As well as looking to dispel any rumours of paranormal activity in the house, Earle also sets his sights on some of his fellow guests, the mysterious spiritualist Cairo (Andrew Yates), and the academic, supposedly psychic Adolphus Scarabus (Jimmy Allen), both of whom Earle is convinced are complete charlatans. Rounding out the guest list are reporter Vivian Rutledge (Jo Haydock) and custodian of Blaine Manor Vincent De Lambre (Ed Barry), along with the mysterious butler Grady (Joe O’Byrne). It’s a very promising set-up with more than a hint of MR James, Edgar Allen Poe, and the classic haunted house movies of the Golden Age of Hollywood.
It’s difficult to properly review The Haunting of Blaine Manor without getting into spoilers. Sufficed to say that the story has a brilliant double twist at the end. However the road to the denouement is a real mixed bag.
The problems start as soon as the curtain rises. While Blaine Manor is beautifully appointed with impressive, decorative furniture, the choice to have it all backed by a plain black curtain unfortunately robs the entire piece of a large amount of atmosphere. While it is no doubt a budgetary decision to use the theatre’s blacks, its one of several factors within the play that make it veer dangerously towards amateurish. This extends into some of the acting. Not mentioning anyone in particular, there are some wobbly accents, stilted deliveries and downright wooden performances. This is not helped by O’Byrne’s dialogue which could do with a good polish. Yes, there are arguments for the fact that all of these “problems” are deliberate including the fact that ghostly B-movies are as a reference point. However, that doesn’t make it any easier to sit through. A little bit of a lighter tone would help, as while there are some genuinely funny lines here, the overall tone of the piece is extremely self-serious.
Sadly, for a ghost story, there are no genuine chills or frights here, only cheap jump-scares solicited with sudden loud sound effects or dramatic lighting cues. This is very frustrating, since as previously stated, the ending is extremely clever and satisfying, and just about makes the whole evening worthwhile.
That all said, just like those creaky old black and white haunted house B-movies, if you set your expectation appropriately, you are almost certainly going to have a good time at Blaine Manor.
Runs until 23rd August 2025
