Review by Amelia
The ticket was gifted in return for an honest review.
Presented by the innovative theatre company ThickSkin, It Walks Around the House at Night, written by award-winning writer Tim Foley, tells a spine‑tingling ghost story that unfolds within the eerie confines of a countryside manor. Under Neil Bettles’ dynamic direction, the play is intentionally designed as a horror theatre experience, destined to keep audiences on the edge of their seats. With accolades such as Driftwood, How Not To Drown, Electric Rosary and Bedknobs & Broomsticks from the creative team, it’s clear that this show is in good hands. So, is this play simply to die for, or will you be left in the dark?
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| Photo by Tommy Ga-Ken Wan |
The play is intimidating from the off. Neil Bettles and Tom Robbins’ set design gives off the creepiest of vibes and is used brilliantly within the intimate Minerva Theatre space. With its layers and small details allowing the story to truly come alive, it genuinely feels like you’ve tripped and fallen straight into your favourite horror movie. We follow Joe, an out-of-work actor who accepts a well-paid job playing a ghost at a country manor, but what initially seems like a simple gig soon becomes deeply unsettling as he begins to seek out what’s hiding in the shadows. Across five nighttime walks that we experience alongside him, the tension steadily builds, and what’s eventually uncovered is nothing short of terrifying.
Joe pretty much carries the weight of the entire production on his back, barely given a moment to breathe outside the relentless pace of the script. George Naylor brings him to life with real mastery, delivering this demanding 90-minute performance with an ease that’s genuinely impressive. He’s utterly captivating, both in the way he speaks and the way he moves, holding the audience’s attention through every shift in mood and tension, which is essential for a role so exposed and consuming. The script from Foley works so well with Naylor’s abilities and strengths, creating a tense atmosphere no matter the stakes of the scene.
Oliver Baines, as The Dancer, is an enigma in his own right, slipping through the shadows of the theatre almost unnoticed yet always deeply felt. His presence adds an eerie, atmospheric layer that intensifies the sense of unease. Together, their performances elevate the production, allowing the story to reach its full potential and capturing the true depth of horror at the heart of the piece.
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| Photo by Tommy Ga-Ken Wan |
The production’s sound and lighting design work hand-in-hand to build the unsettling atmosphere that the play relies so heavily on. Pete Malkin’s sound design fills the intimate space with an impressive depth, layering sharp bursts, low rumbles, and those slow-creeping audio cues that keep you braced for the next jolt. Joshua Pharo’s lighting and video design complements this, carving out shadows and pockets of light that make the small theatre feel far larger. Both elements are undeniably effective, even if at times they lean into the familiar rhythms of horror, but that predictability almost becomes part of the charm; after all, a well-timed strobe or a classic tension-building swell is exactly what the genre thrives on.
⭐⭐⭐⭐
The production plays at the Minerva Theatre in Chichester until 7th of February. Please be advised that the show includes haze, loud sound effects, jump scares, flashing lights and strobe lighting.
The production plays on tour, including a run at Southwark Playhouse from 4th to 28th March 2026. For tickets and venues, visit https://www.thickskintheatre.co.uk/itwalks/
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| Photo by Tommy Ga-Ken Wan |
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