A riotous new dark comedy. London, 1970. A Vampire lurks in Highgate Cemetery...
More of this is true than we would like.
London, 1970.
London, 1970.
Something horrifying stalks the streets of London. A creature with blazing red eyes, sucking the life out of all who cross it’s path, leaving only terror in it’s wake.
A demon-hunting Priest and his sworn enemy, a man who’s a tobacconist by day and a vanquisher of the undead by night, both set out to destroy the creature forever. An uneasy alliance. London’s own vampire. Both heading to the dark heart of Highgate.
And now, if you’re sitting comfortably, they will tell you how it happened….v
We spoke to writes Alexander Knott and James Demaine to learn more about the piece
What can you tell me about The Highgate Vampire?
The Highgate Vampire is the name given to a series of media sensations that occurred in north London in the late 1960s and early 1970s. It began with several sightings of a shadowy, unsavoury entity that had been observed skulking around Highgate Cemetery and culminated in an all-out invasion by hundreds of amateur vampire hunters determined to put an end to the ghastly phenomenon. Our play tells the story of the two men at the forefront of the debacle. One of which is a tobacconist by day and shamanic demon hunter by night (me), and the other is a self-proclaimed catholic bishop and exorcist (Alex). The two men decide to host a lecture to inform members of their occult members' club about the entity. It quickly unravels into an all-out play, with wacky characters and darkening shadows.
The Highgate Vampire is the name given to a series of media sensations that occurred in north London in the late 1960s and early 1970s. It began with several sightings of a shadowy, unsavoury entity that had been observed skulking around Highgate Cemetery and culminated in an all-out invasion by hundreds of amateur vampire hunters determined to put an end to the ghastly phenomenon. Our play tells the story of the two men at the forefront of the debacle. One of which is a tobacconist by day and shamanic demon hunter by night (me), and the other is a self-proclaimed catholic bishop and exorcist (Alex). The two men decide to host a lecture to inform members of their occult members' club about the entity. It quickly unravels into an all-out play, with wacky characters and darkening shadows.
What inspired this production?
I first heard of the tale from a London-based storyteller. It was a 15-minute interlude during an event that covered a multitude of folk stories, which touched on some of the more esoteric and bizarre episodes in London’s history. I was immediately hooked, and after a plethora of internet rabbit holes, I was obsessed. Alex and I were working on another play, in Wimbledon, about the invention of the hot air balloon, and in a quiet moment during tech, I told him about it. We immediately began riffing on the story, with the two protagonists serving as ideal vehicles for the Monty Python/ Mighty Boosh style of surrealist buddy comedy. From that point on, the play wrote itself. It’s just a shame we couldn't squeeze every real-life absurdity into 70 minutes.
I first heard of the tale from a London-based storyteller. It was a 15-minute interlude during an event that covered a multitude of folk stories, which touched on some of the more esoteric and bizarre episodes in London’s history. I was immediately hooked, and after a plethora of internet rabbit holes, I was obsessed. Alex and I were working on another play, in Wimbledon, about the invention of the hot air balloon, and in a quiet moment during tech, I told him about it. We immediately began riffing on the story, with the two protagonists serving as ideal vehicles for the Monty Python/ Mighty Boosh style of surrealist buddy comedy. From that point on, the play wrote itself. It’s just a shame we couldn't squeeze every real-life absurdity into 70 minutes.
How did you approach the development of the piece?
Before we had written anything, we made a visit to Highgate Cemetery and wandered around making notes (it was actually spookier than either of us was prepared for). We then called in at The Gatehouse pub for a pint and to discuss ideas. By the time we left, we had scribbled down a plot and scene structure. We allocated who was going to start writing which scenes, and away we went. From there, it was approached in the same way Alex and I approach everything we have written together. Typically, there is an idea that we both decide has legs, or at least we are interested enough to put pen to paper. We go away and write separately. We then meet and share what we have. It's often very different (in the best way). We develop a plot. We then mash everything together and compose the gaps through improvisation. Ironically, with this one, I ended up writing a lot of Alex’s character, and he wrote most of my character.
Before we had written anything, we made a visit to Highgate Cemetery and wandered around making notes (it was actually spookier than either of us was prepared for). We then called in at The Gatehouse pub for a pint and to discuss ideas. By the time we left, we had scribbled down a plot and scene structure. We allocated who was going to start writing which scenes, and away we went. From there, it was approached in the same way Alex and I approach everything we have written together. Typically, there is an idea that we both decide has legs, or at least we are interested enough to put pen to paper. We go away and write separately. We then meet and share what we have. It's often very different (in the best way). We develop a plot. We then mash everything together and compose the gaps through improvisation. Ironically, with this one, I ended up writing a lot of Alex’s character, and he wrote most of my character.
How do you navigate developing something based on real life events?
With a story like The Highgate Vampire, there is such a wealth of events and moments and characters that defy belief. The first thing we did was research thoroughly all the accounts of what happened in North London in the late 1960s surrounding this case, to the point where we had a real grip on the narrative. I, in particular, spent a lot of time researching the origin of vampires within different cultures, from their Slavic roots, right through to the Twilight series. Then we put all that to one side and wrote a two-hander play about two men with unmet ambition, making one final attempt to be taken seriously in their chosen field, and along the way, discovering that their enemies are more like them than they realised. At a certain point, you have to trust that the research has been done and try not to let that be the focus of the endeavour. It isn’t an essay, so you can take some artistic license. Ultimately, it is a very human play, despite it being, at times, very, very silly.
With a story like The Highgate Vampire, there is such a wealth of events and moments and characters that defy belief. The first thing we did was research thoroughly all the accounts of what happened in North London in the late 1960s surrounding this case, to the point where we had a real grip on the narrative. I, in particular, spent a lot of time researching the origin of vampires within different cultures, from their Slavic roots, right through to the Twilight series. Then we put all that to one side and wrote a two-hander play about two men with unmet ambition, making one final attempt to be taken seriously in their chosen field, and along the way, discovering that their enemies are more like them than they realised. At a certain point, you have to trust that the research has been done and try not to let that be the focus of the endeavour. It isn’t an essay, so you can take some artistic license. Ultimately, it is a very human play, despite it being, at times, very, very silly.
What is it about turning local folklore into pieces of theatre that attracts you?
I am always infinitely fascinated by local folklore. My mum, being Irish, raised me on a diet of banshees, ghosts and fairies, and since then it has always been something I have had a deep interest in. Black Shuck, The Green Man, Robin Hood, King Arthur, The Pendle Witches and the thousands of other English folkloric traditions are all little quirks that make life interesting. They remind us that there is a bizarre and intriguing beauty beyond daily life. The Highgate Vampire sits among the most kooky and unusual, and it's an honour to be able to share it with other people and do our bit in keeping the story alive.
I am always infinitely fascinated by local folklore. My mum, being Irish, raised me on a diet of banshees, ghosts and fairies, and since then it has always been something I have had a deep interest in. Black Shuck, The Green Man, Robin Hood, King Arthur, The Pendle Witches and the thousands of other English folkloric traditions are all little quirks that make life interesting. They remind us that there is a bizarre and intriguing beauty beyond daily life. The Highgate Vampire sits among the most kooky and unusual, and it's an honour to be able to share it with other people and do our bit in keeping the story alive.
You both also star in the production - how do you balance your roles as writers and performers?
Neither of us are particularly precious about the words we have written and we generally just want the show to be a entertaining as possible. During th rehearsal process large changes were made to what had been originally written. The real key to that stage of the process is our director Ryan Hutton, who didn’t have any involvement in the script writing and therefore came with a fresh set of eyes and ears and a unique persepctive on what the show could be. The whole thing is really an exercise in ignoring your ego and letting things go that don’t work, as well as being open to trying things that you might not have thought os yourself. As an actor himself, Ryan is exceptionally good at giving intricate notes on character beats or how a certain line should be delivered, which makes a huge difference to a scene.
Neither of us are particularly precious about the words we have written and we generally just want the show to be a entertaining as possible. During th rehearsal process large changes were made to what had been originally written. The real key to that stage of the process is our director Ryan Hutton, who didn’t have any involvement in the script writing and therefore came with a fresh set of eyes and ears and a unique persepctive on what the show could be. The whole thing is really an exercise in ignoring your ego and letting things go that don’t work, as well as being open to trying things that you might not have thought os yourself. As an actor himself, Ryan is exceptionally good at giving intricate notes on character beats or how a certain line should be delivered, which makes a huge difference to a scene.
How does this piece fit in with the ethos of the work you create as Bag of Beard Theatre?
In all honesty, this is something of a wildcard for the company. It is the first all-out “comedy” we have written and the first play we have based on real-life events. It's a bit of a departure from our other work, which has often been very heavy on philosophy. I suppose the way in which it is similar to the other works is that it has a sort of dark whimsy or clownish melancholy. We were once described by an associate as “sad boys being arty”, so I suppose there is still a touch of that, but this time there is an injection of Monty Python-esque nonsense. In addition, we have always had a keen interest in producing our own scores. For The Highgate Vampire, Samuel Heron has written some remarkable pieces of music that really tie the show together. They fluctuate between end-of-the-pier circus jaunts and genuinely scary, droning, demonic synths and strings.
When did your collaboration together begin?
Ryan, Alex and I all went to Italia Conti to study acting (class of 2016). We were all very close friends during our training, and Alex and Ryan set the company up during the second year, when they had small parts in John Ford's “Tis Pity She’s a Whore”, and I was busy being the lead. In the third year, Alex and Ryan wrote a play for their dissertation and cast me in one of the roles, and the rest is, as they say, history.
Ryan, Alex and I all went to Italia Conti to study acting (class of 2016). We were all very close friends during our training, and Alex and Ryan set the company up during the second year, when they had small parts in John Ford's “Tis Pity She’s a Whore”, and I was busy being the lead. In the third year, Alex and Ryan wrote a play for their dissertation and cast me in one of the roles, and the rest is, as they say, history.
Why do you think this is the perfect show for the festive season?
I have always loved some of the darker sides to Christmas, with A Christmas Carol being much more interesting to me than White Christmas. If you are into The Nightmare Before Christmas or The Grinch, or Krampus, then it's ideal. If you prefer Gaudete by Steeleye Span to Mariah Carey, then I think you will love it. It is an alternative Christmas tale. There is even a scene that is set on Christmas Eve with a chilling tale from a terrified dog walker.
What was the first piece you remember having a big impact on you?
The original Jerusalem by Jez Butterworth. I was about 17 and I had come to London on a trip with a youth theatre group I attended, which was organised by a lady called Gillie Kerrod, who was the most inspirational teacher I have had to this day. Me and a group of teenagers sat transfixed by Mark Rylance for two and a half hours or so, and I have never viewed theatre the same way. I suppose that is another play that heavily features English folklore. There seems to be a theme...
What keeps you inspired?
Discovering small, hidden bits of London's history. I learnt recently about an entity that has its earliest sightings in Hammersmith during the Victorian era. Spring-heeled Jack. He was described as having clawed hands and fiery eyes, and he terrorised people on moonlit nights as they walked the dark streets of London. I am also endlessly fascinated by mythology from around the world. Things that are out of the ordinary. UFOs, mad conspiracy theories. Fun stuff.
What would you hope someone takes away from seeing The Highgate Vampire?
I hope they become as interested in the case as we are. There is so much to the story, I would encourage anybody to do a Google and plunge into the rabbit hole. It's bonkers. Beyond that, I just hope they are entertained. We have created a piece that, first and foremost, is meant to be entertaining. It is escapism, which is not to say it is unintelligent. It’s full of wordplay and quick-fire gags. We want people to have a laugh and to say “no way!”…I promise you…Way!
Where can audiences see the show?
The show runs from December 16th to December 30th at the Omnibus Theatre in Clapham.
Tickets are available from https://www.omnibus-clapham.org/the-highgate-vampire/
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