Uncle Monty’s Antique Shop – The Lion & Unicorn Theatre

Spooky season is here, and it has brought with it a spine-tingling play. Uncle Monty’s Antique Shop is an anthology of psychological shorts written and directed by Alexander Wright and Nina Atesh. The production unfolds through the items in an antique shop, each introduced alongside its grim history.

As we enter the space, Monty (Nicholas Benjamin) sits at his desk, unbothered and sipping his tea. A sense of unease is established almost immediately. When a tourist (Nina Atesh) accidentally wanders into the shop, she discovers that nothing is for sale. Monty’s unhinged, at times amusing, demeanour emerges as he enthusiastically presents his collection of disturbing objects.

The first story, ‘The Photographer’, centres on a ruthless political leader (Ryan Williams), his photographer (Shanice Petilaire) and a political secretary (Akshay Sharan). Exploring tyranny, power, paranoia and retribution, it establishes a solid foundation for the anthology. Williams’ increasingly paranoid politician is creepy and deeply discomforting, while Petilaire demonstrates impressive control as the photographer. Sharan also delivers a convincing performance as the oppressed political servant.

The second story, ‘Deadlock’, is a two-hander featuring Williams and Sharan as opposing soldiers locked together in a cell. The most physically intense of the four shorts, it features a well-executed fight sequence, arguably a little too intense for such an intimate space. The physicality works well in the black-box setting, and the performances are convincing. However, the story feels somewhat out of place, with little connecting it thematically or atmospherically to the wider anthology.

Between each story, Monty grows increasingly unhinged, seemingly taking on supernatural qualities as he traps the tourist inside the shop. The lighting and sound design make these interludes genuinely spine-tingling. However, the transitions into the final two stories feel disjointed, disrupting the atmosphere that the framing narrative works so hard to establish.

The third story, ‘Murmurs’, follows a couple portrayed by Williams and Petilaire. Blending psychological horror with supernatural elements is elevated by the excellent use of sound. The gradual revelation of the truth about their relationship offers an intriguing shift in perspective. It was perhaps the best out of all in terms of overall stagecraft.

The fourth and final short, ‘Susannah’, follows a scientist (Sharan) and his android creation (Petilaire) as it gradually gains consciousness. This is perhaps the weakest of the four in terms of thematic impact. Its discernible timeline stands out against the other stories, which remain vague about their time and place. Despite the performers’ efforts, the story does not quite land as intended, leaving the anthology on a less compelling note.

As an anthology, it doesn’t need all four stories to be told through a single narrative. However, the inconsistencies between them left me frustrated. Atesh and Benjamin’s performances create a brilliant progression in the framing narrative’s psychological tension, tightening their grip on the audience like a python slowly constricting its prey. Yet, just as that tension takes hold, the disconnected stories repeatedly break the spell.

The supernatural elements appear and disappear in favour of stories centred on disturbing human behaviour. While this contrast could have been compelling, the different approaches to horror never quite sit comfortably alongside one another. Rather than building towards a cohesive exploration of horror, the anthology struggles to reconcile its contrasting stories, leaving the overall experience feeling disjointed.

The production has all the makings of a great spooky show. Its effective use of sound and lighting, strong performances and promising scripts create moments of genuine unease. Unfortunately, the inconsistencies between the shorts prevent it from fully realising its potential. There are moments that unsettle, but ultimately, it falls short of being a show that truly leaves you on the edge of your seat.

Reviewer: Prateek Sonny

Reviewed: 14th October 2026

North West End UK Rating: