Scotland

The Haunting of Hill House – Lyceum Theatre

There is something particularly appropriate about staging a haunted house story within the magnificent Victorian architecture of Edinburgh’s Royal Lyceum Theatre. Its ornate interior provides a fitting introduction to Shirley Jackson’s The Haunting of Hill House, a Gothic tale in which architecture is not merely the setting for the drama but effectively another character within it.

Adapted for the stage by Stef Smith and directed by Martin Constantine, this production offers an evening of considerable theatrical invention, although it takes some time to find its feet.

The story follows Eleanor, a socially isolated young woman who joins a small group assembled by Dr Montague to investigate the mysterious Hill House. What begins as an apparently straightforward exploration of supernatural phenomena gradually develops into something altogether more disturbing, as the boundaries between psychological insecurity and inexplicable events become increasingly blurred.

The first half is something of a mixed experience. The dialogue occasionally feels dated and rather wooden, with exchanges that might not seem out of place in an old-fashioned murder mystery. There is a tendency towards stereotypical characterisation, and the relationships between the younger members of the group are not always convincingly developed.

Eleanor’s apparent attraction to both Theodora and Luke is particularly difficult to interpret. Her emotional neediness is evident, but precisely what she seeks from either relationship remains elusive. There is nothing inherently wrong with a character who struggles to understand herself, but the writing needs to provide sufficient insight for an audience to understand that struggle. Here, the ambiguity sometimes becomes an obstacle to engagement rather than a source of dramatic interest.

Clancy Ryan nevertheless does an admirable job as Eleanor, delivering a committed and physically expressive performance across a substantial emotional arc. The shortcomings lie more in the material she is given than in her interpretation of it.

Visually, however, the production is consistently impressive. Ti Green’s set works beautifully within the architectural surroundings of the Lyceum, while Duncan McLean’s video design and Chris Davey’s lighting create an increasingly unsettling environment. The use of a front gauze is particularly effective, allowing projections and spectral imagery to appear and disappear within the apparent solidity of the building. These are accomplished theatrical techniques, imaginatively employed.

At times, though, the supernatural effects feel like individual stunts punctuating an otherwise dialogue-heavy drama. The integration between acting, narrative and spectacle is not always seamless, and the first half occasionally struggles to generate the sustained psychological tension that the material demands.

Fortunately, things improve considerably after the interval.

The arrival of Jemma Churchill as Mrs Montague provides a welcome injection of energy. Her delightfully arch performance, combining waspish criticism with an almost comic self-assurance, offers precisely the change of tone the production needs. She brings a freshness to proceedings that helps lift the drama beyond its earlier earnestness.

From here, the pace increases, the supernatural interventions become more assured and the jump scares arrive with considerably greater impact. The technical effects, impressive throughout, now begin to work more effectively in support of the unfolding story. There is a growing sense of theatrical confidence, and the production finally achieves the momentum that was missing earlier.

Most importantly, the conclusion is satisfying, drawing the various strands together in a manner that rewards the audience’s patience. To reveal anything more would be unfair. This is a production whose surprises are best encountered without advance warning.

The Haunting of Hill House is not without its shortcomings. Its dialogue and characterisation occasionally undermine its psychological ambitions, and the first half could certainly benefit from greater dramatic urgency. Yet the excellence of its staging, the strength of its principal performances and an increasingly compelling second half ultimately win the day.

Come with an open mind, suspend your disbelief and allow yourself to enjoy the theatrical experience. Hill House may take a little time to work its magic, but by the end it has certainly earned its four stars.

Reviewer: Greg Holstead

Reviewed: 10^th November 2026

North West End UK Rating: