Paranormal Activity – Grand Opera House York

Writer: Levi Holloway

Director: Felix Barrett

Paranormal Activity is exactly what a top notch stage play in the horror genre should be – creepy, clever, weirdly funny on occasion and punctuated with moments that leave you wondering, “How on earth did they do that?”

James (James Bye) and Lou (Hannah Sinclair Robinson) are a newly married couple who move from Chicago to London hoping to leave their troubled past behind. It soon becomes clear that whatever has been troubling Lou hasn’t been left behind at all. Strange things start happening in their new home, and as the couple try to work out what is going on, the line between psychological fear and something much more sinister begins to blur. That’s about as much as should be said – this is definitely a show where spoilers need to be kept firmly under wraps.

First and foremost in this production, the illusions are exceptional. Chris Fisher has created some genuinely jaw-dropping moments, and the execution is what makes them so impressive. There are quite a few things happening right in front of the audience that simply shouldn’t be possible. Cue a lot of staring at the stage afterwards with a slightly baffled expression. Misdirection, use of sound and lighting and the audience’s own eyes seemingly playing tricks on them are all used to excellent effect.

James Bye and Hannah Sinclair Robinson are really strong as the central couple, giving the story enough warmth and humour for the audience to be interested in them, and even care about them before everything starts going very, very wrong. Jo Castleton and Caroline Faber also make a real impression in supporting roles, adding plenty to the increasingly unsettling world around James and Lou.

Felix Barrett’s direction is spot on, knowing when to let the tension build rather than throwing a scare at the audience every five minutes. The result is that even the quiet moments become suspicious. A perfectly ordinary doorway suddenly becomes something worth keeping an eye on. And that’s before the lights start going off…

The sound design from Gareth Fry deserves a special extra mention. The sound is used brilliantly to build the atmosphere, creeping into the auditorium and making the audience feel part of what is happening rather than simply watching it. Combined with the lighting and the brilliantly detailed two-storey set, there are moments when the whole theatre feels just a little bit unsafe.

This is so close to being a perfect piece, the timing and choice of illusion is really brilliant. On two very small occasions it didn’t quite work, one just before Caroline Fraser’s final departure from the stage and one at the very end of Act One. Going into more detail about these elements would ruin the experience for others, particularly given that one of them could have just been an off moment. The one at the end of Act One is a directorial choice, that has audiences on the internet divided, so this reviewer suggests you must decide for yourself.

This stage play has come straight from the West End, but it is not without amendments, not least having some of the illusions pared down for a touring stage. But quite frankly, you wouldn’t know. It does not have the feel of a show that is somehow ‘less than’ its West End counterpart, on the contrary, it suits a tour perfectly.

A hugely entertaining piece of theatre – it is clear an enormous amount of thought has gone into every little detail. Just don’t expect to leave and immediately feel completely comfortable in the dark.

Runs until 3rd October.