Review: The Midnight Caller, Old Red Lion Theatre

FreshFest 2025

Before it even begins, The Midnight Caller demonstrates its mission statement to deliver an uneasy horror thriller. The audience gets a good look at the set as we walk past it to take our seats. It is a familiar sight to anyone who has worked in an office: a standard desk and chair set up, with a computer screen, phone, some notebooks and folders scattered around. All is familiar, except for the seemingly dead young lady sprawled across the desk. Suddenly the lights cut out, which jumpstarts the audience and wakes up the lady; luckily, she was only dead tired.   

Fiona (Yazmeen Enoch) is the sole worker of the night shift at her company call centre, where very few calls come in after midnight. A good number of these come from a regular client (Emeka Agada), who is likewise working late and can sympathise with her having nodded off. Fiona is also energised by calls from her friend Judy (Treci Dominique), who entertains her with talk of the outside world they share. It is not long at all before things take a mysterious turn, as Fiona receives an unsettling call for help from a child. As Fiona desperately takes action to try to aid the child, calling upon Judy and other characters (Agada bringing three to life), they uncover further unsettling facts before more strange events occur.

Writer Charles Eades delivers a tight and tense thriller which constantly escalates both mystery and tension. The early scenes quickly humanise Fiona as she shares her dreams of holidays and a better job; Enoch is very likable and superbly portrays growing unease and determination to put things right, so it is not hard for the audience to emphasise with her. The script establishes the reasons why Fiona is working alone in the building, and this is cleverly utilised later when she is in upmost need.

Director Giulia Hallworth keeps up both the visual interest to support the action around the desk Enoch is sat at for most of the time. Rather than having Judy and other callers merely standing static, they walk around the stage; their movements and costuming bringing a distinct sense of personality. Dominique conveys the (initially) carefree nature of Judy, happily lying on the floor to relax, all dressed up from a night out. Agada rapidly rotates between three characters, not only changing costumes but masterfully adapting his posture and demeanour to make each one distinctive. The client is upbeat and supportive in his working jacket, whilst the company manager staggers about slowly in sleepwear when first woken up, before diving into corporate rule mode. Only the alert and professional police call handler stands stock still in a sombre grey outfit, as befits the seriousness of his position. Sat all alone, Fiona can dress casually, with no need for a formal outfit.

The story is greatly enhanced by creative use of light and sound to heighten the experience of dread. The unveiling of each new twist in the mystery is accompanied by lighting which flickers or cuts out altogether, to emphasise the danger. The sound design by Sarah Moffat effectively builds up the atmosphere, with crackling phones, mysterious whispers and other unidentifiable background noises all adding to the sense of subconscious unease. In a rare moment of levity, music initially played on Fiona’s mobile suddenly leaps onto the theatre speakers, accompanying Enoch dancing around the stage to shake off fatigue.

Every aspect of the production combines to enhance the thrilling story which unfolds. When the drama begins, it grabs attention and maintains engagement through non-stop escalation and surprises.

Written by: Charles Eades
Directed by: Giulia Hallworth
Sound design by: Sarah Moffat
Presented by: BlackPen Productions

The Midnight Caller has completed its run at Old Red Lion Theatre as part of FreshFest 2025.