The simplicity of the story The Haunting of Hill House at the Palace Theatre, Manchester is refreshing.
Based on Shirley Jackson’s 1959 novel, it has already been adapted on screen, most notably by Rober Wise’s 1963 film The Haunting and also by the terrifying and hugely popular 2018 Netflix series by Mike Flanagan, The Haunting of Hill House. This new adaptation revisits the original story, with some interesting choices of its own.
Eleanor (Clancy Ryan), Theodora (Sophie Lenglinger) and Luke (Robin Morrissey) have been invited to stay at Hill House by Dr Montague (Jasper Britton), to explore the possibility of ghosts. Eleanor and Theo have interesting talents connecting to their supernatural experiences that Montague feels would be beneficial to his studies. Also, they are the only two that replied. Luke is there to keep an eye on things as he is the somewhat reluctant heir to the house.
Curmudgeon and wise old maid of the house Mrs Dudley (Sian Howard) will NOT stay after dark, as she knows the secrets of the place and protects both the house, the late family, and herself. She is also worried for the party, particularly Eleanor, who she sees as vulnerable due to being consumed with grief for her own mother who recently died. Jemma Churchill completes the cast as Mrs Montague whose role and purpose is left for Shirley Jackson to explain, I guess. But she is a great flighty character nonetheless and appears a short time into the first act to help with the paranormal stuff, as she was missing Dr Montague.
Without giving a lot away, the story is a bit like the book, nothing like the Netflix series. But it does carry some of the queer themes for the novel, kickstarting this with Theo flirting with Eleanor and Eleanor clearly taking this to her heart.
Later, Eleanor makes a desperate bid to live with Theo gives casual hints of interest in her and a kiss on the cheek. Theo cuts this dead by telling Eleanor that she doesn’t want her. As the tension, grief and yearning Eleanor experiences crank up, so do the supernatural occurrences. This ends in tragedy for poor ‘little Nell’ and the horror of being rejected and abandoned by the whole party and the loss of her mother are all wrapped up in the house’s family history. Eleanor’s yearning becomes something horrifically tangible, and the house feeds on it.
The story, though simple, is really elevated by the choices Stef Smith has made in the adaptation. And the crux of the horror is forced gender roles. Which is an added bonus to the fact the audience are really there for the frights – of which there are many.
The set design by Ti Green, lighting design by Chris Davey and video design by Duncan McLean are incredible and high spec. They are done in such a way that the scenes have a fluid nature, reflecting the gothic trope of the house as a character and the metaphysical creaks and cries. A movement is created as if the spirits of the house have marinaded the walls. The house is cleverly made to respond to the fears and desires of the characters sometimes with terrifying force.
You are left with more questions than answers plot-wise, but this doesn’t tarnish the evening for you, as the cast and production are superb. Under Constantine’s direction, this is an atmospheric and technically accomplished piece of theatre that delivers the frights while leaving some unnerving thoughts lingering in the darkness.
The Haunting of Hill House is at the Palace Theatre Manchester from 27-31 October 2026.