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Summary
Rating
Good
A spirited mashup of Victorian gothic satire and contemporary dance that offers plenty of spooky fun.
Summary
Rating
Good
A spirited mashup of Victorian gothic satire and contemporary dance that offers plenty of spooky fun.
The notion of blending an overlooked Arthur Conan Doyle satirical ghost story with hip-hop in an immersive promenade format might raise a few eyebrows, but in Two Lines Productions‘ Selecting a Ghost the unlikely combination delivers more hits than misses. Set in the appropriately atmospheric Grade II listed building of Stanley Arts, this production follows the delightfully eccentric D’Odds couple in their quest to acquire the perfect spectre for their medieval fortress.
Just as in Doyle’s 1883 original, these newly-minted castle owners are desperate to establish their aristocratic credentials, lavishing money on heraldic crests, ancestral portraits, and even a mechanism for pouring molten lead on invaders (all the proper medieval trimmings). But they remain convinced that no respectable fortress is complete without its own haunting – and not just any spirit will do. It must be an actual medieval spectre, mind you, none of those upstart Georgian ghosts!
The first half delivers exactly what you’d want from a family-friendly haunted house experience. Edward Bennett‘s Silas D’Odd explains his ghostless mansion predicament with delightful excess, channelling Victorian melodrama while keeping one foot firmly in contemporary comedy. Alongside him, Jade Williams proves remarkably versatile as Matilda and multiple supporting roles, providing both the grounded perspective that makes the comedy land and the occasional punchline.
Phil Cheadle‘s direction makes clever use of the space and keeps these segments entertaining by mixing humour and light scares, though the production could have done more to interact with its willing audience. The building proves the perfect backdrop, with narrow corridors and shadowy corners effectively utilised to create genuine atmosphere, even if some scene transitions feel more awkward than spooky as audiences shuffle between locations.
This promising start falters when the ghost auditions transform into dance numbers. After an engaging 30-minute promenade performance, the show pivots sharply into extended hip-hop sequences that, despite BirdGang Ltd‘s impressive choreography, feel disconnected from the narrative. While individual moments strike visually, the 15-minute dance showcase reads more like an intermission than an integral part of the story. When we finally return to the D’Odds’ ghostly dilemma for a brief finale, the earlier momentum has evaporated, leaving Doyle’s rather predictable conclusion to drag.
Despite this, there’s something endearing about the production’s commitment to its unusual vision and the way it embraces its inherent oddity with refreshing self-awareness. By honouring the satirical spirit of Doyle’s original story while adding its own contemporary twist, Selecting a Ghost manages to be both respectful homage and playful reimagining. It may not fully realise its ambitious fusion, but it provides an entertaining evening of theatrical oddities and infectious enthusiasm.
Based on a story by: Arthur Conan Doyle
Adapted and directed by: Phil Cheadle
Choreography by: Kendra Kro Horsburgh
Selecting a Ghost plays at Stanley Arts until Saturday 9th November. Further information and tickets are available here.
