Writer: W.W. Jacobs, adapted by Infinite Space Theatre
Director: Leah Townley
The Monkey’s Paw, based on the classic short story, has the potential to be an eerie, atmospheric production. At many points, it achieves this, but it ultimately falls flat due to an underdeveloped script and confusing directorial choices.
Jenny (Josephine Rogers) and John (Steven Maddocks) are a young couple starting their life together. They’ve just moved into a new home and have a baby on the way. But one day, while conducting research for his job at a museum, John discovers a mummified small child. Tucked inside it is the titular monkey’s paw, a mysterious talisman that he soon discovers has the power to grant wishes. But of course, every wish granted comes with a terrible cost; the power of this ancient artefact changes the trajectory of Jenny and John’s lives.
The story works on paper, but the play struggles in the more serious moments. The dialogue is awkwardly direct, often ‘telling’ instead of ‘showing.’ There are several movement sequences throughout that have the potential to resolve this issue. However, they just draw out the piece to fill 80 minutes rather than serving the narrative. The performers have the chops to portray the very real suffering that these characters go through. But these moments are quickly brushed over, and far too much time is instead spent on superfluous backstory. This makes it difficult to empathise with these characters and feel invested in their family by the time the would-be tense final moments take place.
All this said, the show still makes for a good, spooky night out. Gisela Mulindwa’s props and Peter Michaels’ sound carry the production, creating an effective atmosphere for a ghost story even when other components of the production struggle.
But once again, directorial choices get in the way of these elements living up to their full potential. There is a mixture of very naturalistic stage business (such as the use of a pedal sewing machine) and non-naturalistic conventions (such as using a wooden cane as a rifle). This issue takes the audience out of the moment. It wouldn’t be a big deal were it not for the play’s strong reliance on props for the most important plot points. The confusion generated by this stylistic inconsistency is the primary cause of the unclear, unsatisfying ending.
The Monkey’s Paw has the foundations of a great piece of theatrical horror. While the designers and actors do decent work, the compelling simplicity of the source material is diminished in this meandering, unpolished adaptation.
Runs until 8 November 2025
