I suspect many Doctor Who fans love Inside No. 9, the anthology drama created and written by Steve Pemberton (Silence in the Library/ Forest of the Dead) and Reece Shearsmith (Sleep No More) that somewhat defies definition but most frequently indulges in horror and comedy. The pair did, appropriately, nine seasons of the TV series, starring a huge number of incredible guests, then concluded its run, knowing the adage that it’s most important to leave the audience wanting more.
That’s where Stage/Fright comes in, the theatrical culmination of the franchise that’s currently being staged at the Wyndham’s Theatre in London’s West End. It is, however, very difficult to talk about, so great is the shroud of secrecy that surrounds it. And we’ll adhere to Shearsmith and Pemberton’s wishes and not spoil anything.
What I can say, though, is that Stage/Fright is one of the best plays I’ve ever seen.
It’s ingenious. It’s joyous. It’s scary. It’s everything you expect from the talented twosome, and more.
It begins with one premise that establishes, firstly, that Wyndham’s is haunted, and secondly, that Pemberton and Shearsmith know theatre inside-out. The whole production plays with, and revels in, conventions brilliantly. The attention to detail is incredible, as is the level of consideration: they have particular fun with a hand-held camera, which of course later goes on to freak out both the audience and one of the actors; but it’s also used to share an important part of the drama with anyone on the balcony or circle – the camera is rested on the stage at one point, directed at a dark part of the aisle, so when a supposed usher there explains to the rest of the cast about the ghost that treads the boards, the actor is seen on the big screen, as if accidental. Few other theatrical productions give such thought to anyone in the gods, while making it appear completely natural.
(There’s also a glorious moment where the camera is turned on the audience, so we see a few of us on the big screen – before it flickers and shows, instead, an empty auditorium.)
In some ways, it’s a show-within-a-show-within-a-show (and you can possibly add another “within-a-show” in there). It’s gruesome and hilarious: typically, a terrifying moment is followed just a second later with something that makes you laugh out loud. It’s a truly extraordinary thing.
Stage/Fright does touch on some of the greatest hits of the TV show, notably Bernie Clifton’s Dressing Room – with a nod to the first two episodes, Sardines and A Quiet Night In – which, curiously enough, happens to be the first Inside No. 9 I saw. No wonder I fell for the show straight away. Bernie Clifton’s Dressing Room is a high point in a programme full of peaks. The show is everything TV should be; and Stage/Fright – funny, surprising, terrifying, poignant Stage/Fright – is everything theatre should be. But how could the West End otherwise hope to match the offerings of Steve Pemberton and Reece Shearsmith? They’re overwhelming talents, and everyone watching seemed wowed by the experience.
This may be the end for Inside No. 9, but it goes out on the biggest high imaginable, and I can’t wait to see what this team does next. Whatever it is, I’ll be there, and you should be too.
Inside No. 9 – Stage/Fright is sold out, but you can pick up last-minute returns by keeping a watchful eye on the Wyndham’s website.
