By Rachel Jones.
Star rating: 5/5
One of the first things that caught my eye in the programme for The Haunting of Hill House at Salisbury Playhouse was the credit for an “Illusions Consultant”. It was an intriguing inclusion and hinted that this production had more in store than a traditional ghost story. By the end of the evening, it was clear that this was no gimmick. The illusions, alongside exceptional projection design, lighting and staging, helped create one of the most immersive and unsettling theatrical experiences I have seen in recent years.
The stage was initially concealed behind a translucent gauze, with the title of the show projected across its surface. This gauze would become an integral part of the production, serving as a canvas for beautifully mapped projections that transformed it into the looming exterior of Hill House. From the outset, the technical design established that the house itself would be central to the story.
The production wasted no time in announcing its intentions. Rather than the familiar dimming of the auditorium lights, the audience was plunged instantly into darkness, accompanied by a piercing scream that echoed through the theatre. It was a brilliantly effective opening moment, catching everyone completely off guard and establishing a sense of unease that never truly disappeared.
The early scenes, in which the characters first meet and begin to settle into Hill House, were punctuated by nervous laughter from the audience. While there was genuine humour in the script, the laughter often felt like a release valve for the tension steadily building in the room. Nobody seemed entirely comfortable, and that was precisely the point.
As the story unfolded, the house itself emerged as the star of the show. The set moved and shifted with the characters, creating the unsettling impression that Hill House was alive. Transitions between rooms were particularly impressive. When the action moved from the hallway to the Blue Room, walls physically slid and reconfigured before our eyes. Rather than smooth, invisible scene changes, the house groaned and creaked as though actively rearranging itself around its occupants.
Projection mapping elevated these transformations even further. As each room settled into place, intricate designs appeared on the walls: blue patterned wallpaper in the Blue Room, dark wood panelling in the dining room, and other carefully crafted details that instantly established each new location. The combination of practical scenery and digital projection was seamless and impactful.
As the haunting progressed, Hill House became far more than a setting. It reacted to conversations, punctuated moments with unexplained disturbances and seemed to possess a will of its own. The housekeeper’s explanations of recurring electrical faults gradually became less convincing as events escalated. Loud bangs, abrupt blackouts and sudden lighting shifts kept both audience and characters perpetually off balance.
The first half culminated in the production’s first truly supernatural sequence, and it was remarkable. The illusions were executed with extraordinary precision, supported by carefully timed lighting and projection effects that left the audience collectively wondering how what we had just witnessed had been achieved. The creative team demonstrated a sophisticated understanding of misdirection, using light and darkness to guide our attention while concealing the mechanics behind the magic.
By the second half, the audience was braced for almost anything. Yet the production cleverly shifted gears, allowing more space for the emotional heart of the story to emerge. As the haunting intensified, so too did our understanding of the characters. Their reasons for coming to Hill House were gradually revealed, exposing histories marked by grief, trauma, loneliness and longing.
These shared wounds connected the characters even as they pushed them apart. The house seemed to sense these vulnerabilities, exploiting them in ways that made the supernatural elements feel deeply personal. What could easily have become a simple haunted house story instead became an exploration of memory, loss and the burdens people carry with them.
The immersive atmosphere extended beyond the stage itself. At several points, cold air drifted across the auditorium, creating the uncanny sensation that Hill House had somehow reached beyond the set and into the audience. Whether intentional or coincidental, it only heightened the collective tension in the room.
The finale delivered everything the production had promised. The exterior of Hill House returned in a stunning display of layered projection, with imagery appearing simultaneously on the front gauze and the rear set. The effect created entirely new spaces within the house, expanding its presence and amplifying the terror as the story reached its climax. It was visually breathtaking and emotionally satisfying in equal measure.
What makes this production so successful is that all its technical brilliance serves the story rather than overwhelming it. The projections, illusions, sound and moving set are extraordinary, but they never distract from the performances. The cast bring warmth, vulnerability and authenticity to their roles, ensuring that the audience remains invested in the characters as much as the spectacle surrounding them.
By the final curtain, I was left genuinely amazed by the production. I was captivated by the cast, astonished by the technical achievement, and utterly convinced that Hill House itself was the most compelling character on stage. Salisbury Playhouse has created a haunting experience that lingers long after leaving the theatre — a production that is as emotionally affecting as it is technically dazzling.
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