The Haunting of Hill House at Richmond Theatre Review
The Company of The Haunting of Hill House. Photo: Pamela Raith
Shirley Jackson’s 1959 gothic novel, The Haunting of Hill House, is a classic haunted house story exploring the deep connection between the supernatural and the human psyche. Adapted by Stef Smith and directed by Martin Constantine, Hill House on stage is packed with clever stage tech to create an atmospheric watch this spooky season.
Many people will be familiar with Mike Flanagan’s Netflix adaptation, which remains one of the most spine-chilling horror series to date. However, if you’re expecting the same level of ghostly sightings and intense character vulnerability, think again, for this true-to-the-novel adaptation is far more traditional in its storytelling.
The story follows a group of strangers visiting Hill House for the summer, chosen by Dr Montague (Jasper Britton) due to their previous experiences with the supernatural. Set on catching ghosts and finding scientific evidence, Dr Montague invites them to the house, where more and more paranormal activities take place. One character in particular, Eleanor (Clancy Ryan), becomes more at home in the house, and the others contemplate whether the strange occurrences are to do with the supernatural or with her.
Ryan’s standout performance illustrates why the concept of The Haunting of Hill House is a timeless one. The house ultimately preys on the most vulnerable, and Ryan delivers a moving, desperate performance that adds a lot of depth to the story. This contrasts with the other roles in the show, who seem more focused on scientific discovery and the trivialisation of hauntings.
The ambitious lighting design by Chris Davey is layered on top of a classic gothic set design by Ti Green. Abstract AV projections overlap the old-fashioned décor, creating the essence of a maze-like mansion, with all the characters navigating around the space. The use of gauze and rain projections during the climax of the second act created a lot of drama and was an exciting watch. However, the hyperbolic use of the projections sometimes felt futuristic and detracted from the old-time spookiness of the concept.
It is the subtle stage effects where the show really excels. Illusion designer Will Houstoun does a great job of crafting the supernatural occurrences in the night. From a duvet being pulled up unassisted to bulbs flickering and blowing up, these small details added a constant level of suspense to the performance and succeeded in creating an eerie atmosphere.
Now touring across the UK, Constantine’s thrilling production is a fun and atmospheric watch packed with classic gothic tropes. However, it misses out on some of the raw, human character development that Netflix fans would want to see, and which makes the hauntings feel more personal.
★★★
Written by Becky for Theatre and Tonic, October 2026.