The Enfield Haunting Review Catherine Tate And David Threlfall Deliver The Shivers
How is horror on stage better than in more conventional cinema? Inspired by the brutal police investigations in Enfield, north London, which caused a media frenzy in 1977, the drama's mystery may sound all too familiar to those who have watched the recent Apple TV documentary and Timothy Spall's Sky series. . Paul Unwin's paranormal tale is very different from period dramas like 2:22: A Ghost Story or The Woman in Black: it's about possessed children, flying furniture and disembodied voices.
The purpose of the series is not to scare us, but to make us think about the nature of fear and family relationships, when single mother Peggy (Catherine Tate) hides from her abusive and alcoholic husband in whose house she lives. The guys attacked her under the guise of a defender. Her daughters could be teasing the show's psychic community experts full of things, or it could be an ominous supernatural presence.
Director Angus Jackson's production turns into period-appropriate lo-fi retro horror, with some disappearing tricks from the sinister Paul Kyiv. Like the first Poltergeist films, this one feels dirty and kitschy. But the flies say: “Who is doing this?” With a question. " studied.
Following the investigation, the extended late-night press show was extended to 75 minutes and broadcast live. Although it looks short, it doesn't look cut off and the comfort comes slowly.
Tate exudes a lot of maternal angst, although her character seems too flat. A vulnerable woman feels unable to protect her children from men who break into her home and are afraid of her daughter. David Threlfall as Maurice Gross, the ghostbuster, is quite modest. His role isn't enough either, but it still gives him some depth.
Two sisters are the evil children in Henry James's The Turn of the Screw. Ella Sri-Yates makes a particularly impressive stage debut, as does Janet. Grace Moloney is the more cunning Margaret, while her younger brother Jimmy, played by Noah Leggatt in the premiere, has a stutter.
Among the horrors are issues of social class, although these seem to be touched upon sparingly as the middle-class Morris has his own agenda, boldly ordering Peggy to leave if she doesn't feel safe.
Leigh Newby's set-up is reminiscent of the suburban gothic setting of Hilary Mantel's Out of the Dark: a traditional workroom with a gas heater and flat-screen TV, and an upstairs bedroom accessible to viewers.
This product may not be for those who come to be scared, but for me, as a fan of the genre, it delivers on the scary bass. It's bound to bring a different audience into the theater and it's just refreshing.
