16 July 2024 I 19:00 I Phoenix Theatre, London
⭐⭐⭐⭐⭐
I have previously written a short review for Stranger Things: The First Shadow, yet there is such a magnetic impulse from this performance that compels me to share once again what an extraordinary experience it is. Although it isn't necessary to watch the Netflix series beforehand, it is a must see for fans, delving into familiar settings and characters as a prequel to the Hawkins we know. Originating as a thriller series, Stranger Things sees the supernatural cause terror through the screen. But in the theatre, there is no CGI, no editing. Our demons manifest on the stage right before our eyes. They are dangerous, and every single second is amplified with this anticipation of a real life threat.
The performance sees a young Henry Creel, the mysterious and quiet character who joins Hawkins High School. But with his arrival, the lives of those around him are increasingly challenged, generating an unsettling character that isn't directly antagonised. Across the story, a musical production is rehearsed, providing welcome interjections that up the theatrics of the narrative.
To expand, bringing the otherworldly to the stage is challenging, but Jamie Harrison & Chris Fisher's faultless illusion designs are unlike anything the West End has ever seen. My words alone could never do the special effects of this play justice, but when the entire stage can transform in the blink of an eye, and performers can be disturbed and manipulated... You refuse to believe any reasoning beyond the dark powers.
The physical shivers, whole body visceral reactions we feel as audiences are consistently powerful. This is where Louis McCartney's West End debut as Henry Creel soars. It feels impossible to not tense up as his temperament reaches boiling point, acting I can only describe as inhumanely considered. McCartney crosses the depths of the conventional performer, discovering a genuinely petrifying potential that alienates how we observe theatre. To absorb an uncomfortable role with immaculate detail, remember the name Louis McCartney, one of the greatest performers of this generation, historically unforgettable.
Patrick Vaill's (Dr Brenner) measured dominance opposing McCartney holds the most powerful scenes across the show. The nail biting tension really delivers through Kate Trefry's scripting, where each of Vaill's lines are executed with power to render the supernatural useless, words and psychological conviction equally triumphant. He is the only character with the confidence to defy Henry's power, where Vaill's presence is formidable and grounding under pressure.
As Joyce, Isabella Pappas remarkably captures Winona Ryder's mannerisms from the series, as if she could have been plucked from the past! Her character really breathes the connection from screen to stage, with immediate attention to vocal intonation so that this prequel is believable, honouring those who originated the roles.
A first time seeing Kemi Awoderu in the role of Patty Newby, she encapsulates a perfect emotional depth, grappling with the same fears the audience have. Awoderu unlocks a vulnerability to the role, a defensive state where paired with Danny Sykes' Bob Newby, the duo form a beautifully defensive bond against indifference. Both understudying this evening, the standard of performance is consistently strong willed, allowing the agency for individual actors to leave their own stamp on the production and offer a fresh new perspective.
Upon reflection, I can only capture a minute aspect of Stranger Things: The First Shadow. Created by the Duffer Brothers, Kate Trefry and Jack Thorne, I doubt that I will see such a mesmerising multimedia performance in a long time, defying every expectation pre-set in theatre, a cinematic inspired masterpiece. From Buether's explosive set design to Arditti's creeping sound work, Stephen Daldry's direction is admirable beyond measure. My third trip to Hawkins is already booked, and I suggest you plan a trip too, you will not regret it.
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