What I liked
I have to first commend the performances of Rachael Hip-Flores and Laurel Kathleen. Hip-Flores guides the audience, presumably homebuyers at an open house, through the twists — and my GOODNESS are there twists! — and turns of the plot in what is almost a one-woman show. Her affable nature immediately draws you in, but soon gives way to a darker side of her character, played with nuance and grace. Kathleen has the opposite of equally daunting task of bringing us both the scariest and the sweetest moments of the show, using very restrained movements (I’m pretty sure the only one I saw was a finger slowly brought to her lips) and pre-recorded dialog. To tell that story and give us that arc while barely moving a muscle — onstage, no less! — is nothing short of masterful. Together, these two performers craft terror and pathos from antique props and flickering shadows.
The sound design was impeccable. A mixture of pre-recorded sounds that tickle the back of your neck like a spooky symphony and practical on-stage effects immerse you in the world of this haunted house. Timing is crucial in horror, and Day for Knight knows exactly how to make you squirm in your seat.
I’m also a huge supporter of lighting being provided by a single-source onstage diegetic light (in this case a flashlight). It turned the familiar, charming set of the McCadden Theatre into a terrifying place filled with shadows.
What I didn't like
I dunno, but someone should really throw a ton of money at Day for Knight Productions so we can find out!
My overall impression
“Every ghost story is a love story” and this one fits the bill. Scary, sweet, and occasionally silly, this production combines theatrical mastery to make one of the best shows I’ve seen all summer.
