Inside the Edinburgh Playhouse, Inside No. 9 Stage/Fright begins with a BANG (literally). After instantly captivating attention, the cast embarks on a journey of rising tension, broken with comedic moments that engage the audience throughout.
The play begins with a sketch on theatre etiquette, which ends in a comedic, yet slightly unnerving way which sets the tone for the rest of the show. The real story then actually begins, following two old friends played by Reece Shearsmith and Steve Pemberton, who delivered outstanding performances throughout the show. Reuniting after 30 years, they attempt to re-kindle their old comedy sketch show. However, the edges of the story are tinted with ghosts and grief, giving it an equally eerie and touching message, as well as the typical Inside No. 9 twist at the end. A surprise cameo of Scottish comedian and writer Frankie Boyle is well-received by the audience – Boyle delivers an excellent comical performance.
The second half of the play is decisively weaker than the first. It follows a different storyline but features the same ideas and is set in the same location, leaving the characters less developed and feeling much less personal. An increasing focus is placed on the tension and horror aspect of the play rather than the subject of human nature prominent in the first half. Also missing is the shocking twist for which Inside No. 9 is known, which diminishes the ending of the play.
Shearsmith delivers a particularly fantastic performance throughout the play, creating personas that are well-crafted and engaging. Other notable performances include Miranda Hennessy, who portrays the slightly giddy popstar hired to perform in the performance featured in the second half of the play. She truly embodies the role, delivering some of the better comedy of the play during her scenes as well as a great performance as she begins to uncover the haunting truth about the theatre.
The production, however, is the star of the show – it is phenomenal from beginning to end. In the second half, the use of screens elevates the tension to another level, leaving the audience on the edge of their seats in anticipation. The production brings a perfect balance of comedic timing, whilst also unsettling the audience and leaving them uncertain as to what is going to happen next. Whilst some weaknesses come through the adaptation from TV to stage, overall, the production delivers on what is expected of Inside No. 9: a balance of comedy with an unsettling eeriness that leaves the audience with more questions than answers.
Photo by Marc Brenner, courtesy of the Edinburgh Playhouse.