Horrifyingly funny: A review of Foley’s ‘It Walks Around the House at Night’

New this year, It Walks Around the House at Night is a fantastic blend of horror and comedy in one show. While maintaining a relatability to everyday life, the production creates an immersive, extraordinary experience that leaves you looking over your shoulder. The plot revolves around Joe, an out of work actor who is offered a job by a handsome stranger at the bar where he works to pretend to be the ghost of an old countryside manor. However, he fears that there might be something else haunting the area besides him. Part ghost story, part psychological horror – the play deploys dark humour throughout that adds a lightness to offset the creeping atmosphere.

At times, the sound felt oppressive with an eery persistence that cleverly filled the spaces in all the right moments

The play, written by Bruntwood Prize-winner Tim Foley, worked brilliantly in developing a closeness between character and audience – the script’s casual nature and witty remarks gave depth to the character, which I found endearing. The pace of the script felt intentional in drawing out the tension and creating a surreal dream logic as the pacing shifted each night. Furthermore, the production itself was astounding. Directed by Neil Bettles, one of the founders of ThickSkin theatre company, the production embodied the company’s ethos of boldly blending text, movement, and design. I particularly enjoyed seeing multidisciplinary arts in the production through The Dancer, played by Oliver Baines, incorporating expressive aspects of physical theatre.

The internal monologue and lack of company on stage left me feeling as isolated and paranoid as Joe

In addition, I found the technical side of the production to be very impressive. The set design worked well, using minimal set props to keep the space versatile for scene changes and different entrances. The tilted platform onstage added a paranormal feel and allowed for the freedom to play with the dynamics of gravity, while the grass surrounding it blended the comfort of the cabin with the disturbing forest. The sound and lighting worked well together to create a chilling atmosphere, incorporating unsettling music and the use of projection. Diegetic lights, such as the fridge and lamp, juxtaposed with the cold blue tone on the stage throughout, adding to the solidarity that the audience built with the main character, as well as an unsettling feeling of isolation throughout. At times, the sound felt oppressive with an eery persistence that cleverly filled the spaces in all the right moments.

George Naylor, who plays Joe, did a fantastic job in embodying the character and delivering the monologues with a knowingly sarcastic yet comedic voice, which I thoroughly enjoyed. The internal monologue and lack of company on stage left me feeling as isolated and paranoid as Joe, which only amplified the sense of horror. In addition, the direct address with the audience provided a sense of camaraderie which I felt created emotional investment and alliance with Joe. One part I found funny was the way Naylor applied different accents to play both sides of a conversation between him and another character, while interjecting with his own thoughts to the audience.

By vocalising the frustration of being unable to break into the theatre industry through Joe, Foley brings to light the lack of careers within the industry and rising unemployment today

I enjoyed the overall theme of class disparity that Foley employed and the comedy surrounding Joe’s love life as a queer man. By vocalising the frustration of being unable to break into the theatre industry through Joe, Foley brings to light the lack of careers within the industry and rising unemployment today. This added to the play’s relatability and fitted in nicely with ThickSkin’s commitment to being rooted in contemporary culture. Building on this, the use of mobile phones and social media platforms to connect the main character with other ‘off-stage’ characters who were not materialised in the production felt truly relevant in the modern age and the younger generation’s dependence on online connection.

Lastly, I would like to note the costume design. Joe’s costume was well thought out to allow for versatility in scenes and onstage costume changes. I was also particularly fascinated with the costume design choice to give a worn and historic look as though lost in a different era, fitting in well with the old manor and the overall theme of aging.

Overall, despite coming into the space knowing very little about the production, I was completely blown away by the standard of acting and the attention to detail from the technical side. I would highly recommend this show to anyone looking for a laugh and a thrill.

★★★★