A remote Scottish island where everyone has a secret. A mysterious old house with more than its share of things that go bump in the night. And an unassuming new nanny who has no idea what she is walking into. In short, all the trappings for the perfect ghost story. And The Mill at Sonning’s new production of ‘The Whistling’ offers the perfect night of ghostly, top-quality theatre.
Based on the novel by Rebecca Netley, this world premier adaptation of ‘The Whistling’ is a labour of love for its playwrights, Rachel Wagstaff and Duncan Abel, and director/choreographer Joseph Pitcher, not to mention its incredibly hard-working cast and crew.
Once again, the stage of The Mill has been transformed, and this time the intimacy of the half-moon-shaped auditorium could not have been more perfect for this skin-prickling production. We are greeted by a vision of dereliction, blackened and sooty in its former glory, reflecting a piece of the island’s history we soon discover, all accompanied by eerie soundscapes, gorgeously moody lighting and enigmatic production design.
‘The Whistling’ follows the story of Elspeth, (Rebecca Forsyth) a young nanny who has come to the remote island of Skelthsea in the winter months of the 1860s, to look after the youngest inhabitant of the mysterious Iskar House, only to discover the manor is in mourning. She is our protagonist and guide through the story, while the mysterious townspeople (all played fantastically by an ensemble with no weak links) are our storytellers. It is both whodunnit and ghost story, as well as being a beautiful depiction of love, loss and healing.
I was most intrigued to read in the programme that the crew counted an Illusionist amongst its ranks, and the promise of Guy Barrett’s magic did not disappoint. There were some beautifully subtle moments that I will not spoil for anyone yet to watch, but the curtains ‘blowing’ in a breeze and a butterfly were among my favourites.
It seems unfair (if inevitable) to compare ‘The Whistling’ to its more famous counterpart of Victorian gothic horror, ‘The Woman in Black’. While there are similarities in the story – mysterious disappearances, a community being held captive by nature, and more than one good, old-fashioned jump scare – this production is no pale imitation of its ghostly big sister. ‘The Whistling’ feels original, dynamic and exciting.
I think one of my favourite things about ‘The Whistling’ is the debate it raises between what is scarier, the seen or the unseen? While not playing specific characters, all actors form an ensemble of spirits who are both scenery movers and instigators of the ghostly activity haunting Elspeth. They are ever present in an apparently empty house. Their stylised movements may not be to everyone’s tastes, but personally I really liked the convention of having a visible chorus demonstrate the movement of items that within the world of the play are moving without explanation.
But there was no denying the tangible air of nervousness and unease amongst the audience at those brilliant moments of stage trickery where things moved seemingly without cause. Was that a face at the window or just a trick of the eye? How did that doll get there? And how dare you taunt me with the unbearable unwinding of a jack-in-the-box?
Speaking as someone who is fascinated by the theatricality of fear, I think ‘The Whistling’ gets the balance right between seen and unseen. We see snippets of haunting activity, but key ghostly moments are obscured by clever misdirection, lighting and movement, so it doesn’t fall into the trap many Hollywood movies do when revealing the Big Bad, only for it to never be as scary as what our imagination conjured up. Enough is left to mystery that we enjoy the ghostly effects, while still being able to appreciate the narrative.
It would be remiss of me to only focus on the ghostly elements of the production. Because really, this is a story about loss and coming to terms with grief, which I thought the cast handled beautifully. Once our mystery is laid before our feet, it is up to us to navigate the path and discover the truth, shrouded in mystery as it may be.
A fantastic night of new theatre, not to be missed. ‘The Whistling’ runs at The Mill at Sonning until Saturday, November 16. For more information or to book your ticket, visit www.millatsonning.com.
