Review: Even more… Ghost stories by candlelight, Battersea Arts Centre

The magnificent, yet eclectic and slightly crumbling interior of the Council Chamber within the Battersea Arts Centre is the perfect setting for a spooky set of stories during Halloween week. I’d looked forward to this return visit for a while and I was not disappointed.

Four chilling, new short stories, The White Horse (Florence Espeut-Nickless), Cold Oak Lane (Simon Longman), The Takeover (Anne Odeke) and The consequence of diving lots (Rosa Torr) are brought together and performed as monologues in turn by Keaton Guimarães-Tolley and Sarita Gabony. Whilst each story is a standalone piece, the four are cleverly linked by a mysterious white horse which is referenced in each, very reminiscent of the ‘Inside no.9’ TV series. It is a well-judged and thoughtful way to bring the production together without each story losing its own identity.

Guimarães-Tolley, an experienced actor, clown and musician, shines in The White Horse and The Takeover. Talking to the audience as if they were his therapists in the former, with one audience member answering a question back, much to his surprise. His ability to go from serious dialogue, to comedy, to some rather physical displays of pent-up emotion, were terrific. This follows in the second of his stories too, highlighting a real adaptability.

Gabony’s characters are deftly performed in Cold Oak Lane and The consequence of diving lots, with hugely different personalities and backgrounds delivered with ease. In the former, going from a placid, somewhat geeky individual experiencing some life challenges, driven to heart-wrenching despair, all in the space of twenty minutes.

Whilst they are on stage solo for each of their performances, both easily bring fervour, tension and depth to their characters and really generate the perfect atmosphere in the chamber. Each mini-play has been created to show that there is life outside of the capital, with each plot set on either the west or east coasts of the country. This works well, although Guimarães-Tolley’s West Country accent does dip in and out a little during the first performance (I am from the area myself and can spot a genuine twang).

Staging by Lu Herbert and lighting by Jonathan Chan are used to dramatic effect, creating a genuine unsettling ambience in and around the audience. Clever use of silence and darkness, interrupted by a sudden burst of noise and bright light, are just what’s needed for the audience to jump out of their skins and, also, to signal a change in story. Whilst the staging is simple and static throughout, as a viewer you do not feel like you are looking at the same set for the short but perfectly-formed 80-minute production. This is thanks to the multi-functional design and, fundamentally, the power of the actors’ mesmerising performances. Full horror and shock effects are assisted by the subtle use of sound by Anna Short. Speakers placed around the chamber with an occasional whisper; a rustling of leaves or a shuffling made me and more than a few others look over our shoulders. The terrifying sound of a snapping bone during one of the tales drew audible gasps from the crowd.

This is a brave, clever and beautifully executed experience and reminds me, once again, that you do not need to attend an expensive, big-budget, big-theatre performance to witness some incredibly skilled creatives at work. The depth of acting here by Gabony and Guimarães-Tolley is far superior to some big name shows that I’ve witnessed recently. A real triumph. And yes, I looked behind me several times on the way home…

Written by Florence Espeut-Nickless, Simon Longman, Anne Odeke and Rosa Torr
Directed by Elle While
Staging by Lu Herbert
Lighting by Jonathan Chan
Sound by Anna Short
A HighTide and Pentabus co-production, in association with Harlow Playhouse

Even more… Ghost stories by candlelight plays at Battersea Arts Centre until Saturday 8 November.