A Very Dark Imagination – 6 May 2025, Lantern Theatre
Review by Peter Taranaski.
We are back to the leafy suburb that hides the wonderful, bijoux theatre, the Lantern Theatre (Sheffield). We are here to see the new horror play from the creators (and actors) of a previous show we saw about “The Enfield Poltergeist”.
Front stage again are Paul Voodini and Kiera Rhodes who return from that previous show. The setting is a kind of sheltered cottage during the 1940’s, it is clearly war-time and things do not seem quite right.
A storm is raging that fills the senses, the radio is spitting out news bulletins that warn of overhead planes, and in this cottage in the Welsh Countryside is a young woman all by herself in the dark quiet. The door bangs and a stranger calls. It is an older man called George, who is lost and is looking to use the telephone. He is sporting a black eye and what seems like a knock on the head, and there are many things he is not sure of. As he accepts the hospitality of the woman within, it can be seen that she is acting oddly, somewhat out of place. The woman introduces herself as Sabrina Jones and from there we are finding out about this characters and what might have led to this point.
It is a show with plenty of atmosphere; as always the set is warmly designed with props and furniture. Despite it’s cosiness, you can feel the isolation in this place, the dark corners of this lonely home that grumbles like a burnt out candle. In it’s strength, like the best murder mystery, there are subtle indications in the arrangement of this set that hint that the situation might not be all it appears. As the play progresses, it seems like neither person might be who they say or think they are, and a cat and mouse game begins.
Voodini is excellent. He sells the idea that he is floating in a sea of confusion. He asks the right questions throughout but they don’t seem to sink in, or move those barriers in his mind. Voodini’s character gives us a believable and credible portrayal of someone unable to bat away the reasoning that is given, much like trying to fend of the flurry of strikes from a determined tabby cat. His head is furrowed, you picture him driving to the cottage in a fog-drenched night, and him wandering to this bleak, remote place. Before you fully understand his role there are glimpses of it beneath the cloud that encircles his head, in his questions and musings. From the audience perspective you can see he is being played for the fool long before any reveal in the show, but his conviction sells his trusting nature and it is easy to get lost into the events within.
Kiera is also good as Sabrina. Watching “A Very Dark Imagination” you can see elements of her previous character as the daughter of the family in “The Enfield Poltergeist”. She is evasive and, at times, a little chilling. The character is on the zany-side, and there are times when this is compelling watching especially her discussions around a particular kitchen instrument. She uses her time to show a range including being sullen, somewhat manic, and even caring and encouraging. The pace of the play moves around nicely and there are some good, quiet moments that both characters invest in. On the whole this works out well. When we watched, there were several of the audience in hoots around Rhodes’ more energetic characterisations, and this connection is to be admired. We probably would have enjoyed more moments of terror in the performance and script, more reason to be fearful of this character in the portrayal. The character has a whimsical nature, which makes sense as the play has these comedy moments, but for ourselves more indication that this person can physically and mentally do the things they do, would round it all out. Kudos should be given for the writing which explores the character’s history, and through performance allows us to sympathise with them, to the extent which latter events would allow.
As a means of honouring and capturing the spirit of these old stories, it does a good job. There are the familiar trappings of pulp horror including the notion of an “asylum” with references to old treatment methods, predominantly the ice pick which is a (excuse the pun) cool prop addition. The biggest moments of dread in the play centre around the props be it this, the scrap book or the telephone, where discoveries or events lead to a lot of underlying tension which can truly be felt. Viewed from the lens of the intended period, these ideas of mental health treatment are staples of the genre and would be recognisable for most fans of tales from yesteryear. Having experiences of working around issues of mental health and detention, credibility for the little effect of frontal brain injury is a bit stretched though the play does clearly and successfully portray and discuss issues of emotional trauma. The ending, while being steadfastly loyal to this genre, was a little blunt and expected, though acted well.
Overall this is a good watch. The play takes the idea of telling stories within stories, and this is always a fun inclusion.
Quite a lot happens in this one little location and the spacing and character movements within it are excellent. If you are a fan of period horror where the battle between two people is the centrepiece, e.g. like Misery maybe, then this play will feel right at home to you.
pick which is a (excuse the pun) cool prop addition. The biggest moments of dread in the play centre around the props be it this, the scrap book or the telephone, where discoveries or events lead to a lot of underlying tension which can truly be felt. Viewed from the lens of the intended period, these ideas of mental health treatment are staples of the genre and would be recognisable for most fans of tales from yesteryear. Having experiences of working around issues of mental health and detention, credibility for the little effect of frontal brain injury is a bit stretched though the play does clearly and successfully portray and discuss issues of emotional trauma. The ending, while being steadfastly loyal to this genre, was a little blunt and expected, though acted well.Overall this is a good watch. The play takes the idea of telling stories within stories, and this is always a fun inclusion. Quite a lot happens in this one little location and the spacing and character movements within it are excellent. If you are a fan of period horror where the battle between two people is the centrepiece, e.g. like Misery maybe, then this play will feel right at home to you
pick which is a (excuse the pun) cool prop addition. The biggest moments of dread in the play centre around the props be it this, the scrap book or the telephone, where discoveries or events lead to a lot of underlying tension which can truly be felt. Viewed from the lens of the intended period, these ideas of mental health treatment are staples of the genre and would be recognisable for most fans of tales from yesteryear. Having experiences of working around issues of mental health and detention, credibility for the little effect of frontal brain injury is a bit stretched though the play does clearly and successfully portray and discuss issues of emotional trauma. The ending, while being steadfastly loyal to this genre, was a little blunt and expected, though acted well.Overall this is a good watch. The play takes the idea of telling stories within stories, and this is always a fun inclusion. Quite a lot happens in this one little location and the spacing and character movements within it are excellent. If you are a fan of period horror where the battle between two people is the centrepiece, e.g. like Misery maybe, then this play will feel right at home to you.