Author: John Ajvide Lindquist
Adaptor: Jack Thorne
Director: Bryony Shanahan
Manchester is in a Halloween mood; comically monstrous creatures have been stuck on buildings. Massive green tentacles emerge from The Royal Exchange while inside an adaptation of John Ajvide Lindquist’s vampire novel Let The Right One In is staged.
A series of murders plague Blackeberg, a suburb of Stockholm. Oskar (Pete MacHale) has his own problems, incessant bullying at school is affecting his mental health and, to gain a sense of empowerment, he shoplifts and indulges in revenge fantasies. He attracts the attention of new neighbour Eli (Rhian Blundell) who, like himself, seems an outsider- for one thing she smells terrible.
Eli is a vampire, and her human guardian Hakan (Andrew Sheridan) is committing the murders to keep her supplied with blood. Despite Eli’s reservations the youngsters form a friendship but if Oskar feels out of his depth with someone whose sexuality is ambiguous, he is going to really struggle when Eli’s true nature is revealed.
Jack Thorne’s adaptation streamlines the source novel- Eli does not accidently create any more vampires- but the elements which made it so striking are retained. Hakan’s perverse motivation for looking after Eli is handled discretely and Eli’s sexual identity is acknowledged if not explored in depth.
The play both acknowledges and challenges the classic elements of the vampire myth. Rather than ranting and eating insects like Dracula’s human servant Renfield Andrew Sheridan’s Hakan is austere and emotionally remote.
This is a busy production. Large props – coffin-sized chests, climbing frames and shop fronts – are distractingly wheeled onstage. But more importantly director Bryony Shanahan creates a production which is both brutal and tender suggesting there are worse monsters than vampires in society.
The murders are horrifyingly visceral – one poor soul strung up by the heels and butchered. Vampires are often portrayed as sexy but here the attacks have no eroticism being carried out in full shock and awe style, with flaring lights and disconcerting noise.
But the vampire is motivated by the need to feed and takes no pleasure in murder. The bullying of Oskar, on the other hand, is more emotionally disturbing because it serves no purpose other than cruelty. The play, therefore, takes the viewpoint the bullies are more monstrous than the vampire. Rhian Blundell captures the sense of alienation developed by Eli to distance herself from those she must regard as a food source, but she is driven by an unholy appetite. The bullies are selfishly picking on someone who does not fit in to make themselves feel good, with Stefan Race creating a particularly vile thug. Oskar shames his teacher, and by extension all adults, by pointing out their turning a blind eye to the harassment facilitates the practice. Director Shanahan makes excellent use of The Royal Exchange’s Young Company as Oskar’s leering classmates.
Pete MacHale and Rhian Blundell are completely convincing as outsiders. Round-shouldered and permanently flinching MacHale is an obvious magnet for bullies. Blundell has a feral grace, scuttling over a climbing frame like an insect. Yet there remains the impression Eli has forgotten how to behave as a member of society– constantly wiping her nose on her arm. There is the sense, after a long life, Eli has become jaded and is careless about her personal hygiene and so blasé as to allow Hakan to use her body for his perverse satisfaction. The friendship with Oskar gives Eli a reason to keep going.
The production captures an essential element missing from the film adaptations- a sense of innocence. When together Eli and Oskar are gauche and awkward and unsure how to behave. Oskar’s reaction to finding Eli naked in his bed is one of shock and embarrassment rather than excitement. There is the charming sense of two young people helping each other to mature. The approach also allows for unexpected and welcome flashes of humour with Eli pointing out to Oskar saying a couple have ‘slept together’ does not usually meaning innocently sharing a bed.
Let The Right One In is bloody good.
22nd October – 19th November 2022
The Reviews Hub Score
Bloody good
