I mean, it didn’t appeal to me personally, but then ‘scary’ (inverted commas mine) seldom do appeal to me, if anything because if things become truly frightening, I suddenly become very, very aware of my surroundings. For this show: I am in the Soho Theatre, and I could walk out of here at any point, and the staff would be very understanding. I am minutes away from Tottenham Court Road station, from where there are multiple lines running to whisk me away from here relatively speedily. As it happens, the show wasn’t particularly frightening, partly thanks to the use of very, very loud noise, repeatedly throughout the hour-long production. You get used to it very quickly.
But it would be a grave mistake to call the show out for being a one-trick pony, as there are sufficient twists and turns, and topical references (and, indeed, not-so-topical references) galore to maintain one’s interest in what is going on. And there is a lot going on in this show, which does what some Edinburgh Fringe shows do by default (the show enjoyed a good run there shortly before this Soho Theatre run): pack a lot of narrative into an hour and go at such a brisk pace that there’s a risk some in the audience might not keep up with proceedings.
Except this show seemed to do it by design rather than default, and revels in keeping the audience guessing. Father Holland used to work with Father Barrett (Holland & Barrett, geddit?) as exorcists until the latter met an untimely end – an exorcism gone wrong, if you will. It was enough for Holland to leave the clergy, taking up a new career as a stag-do entertainer – that is, something removed from demonology. Invited to entertain at the remote Lyle Away Hotel, even the journey suggested Holland was in for a rough night.
The show’s title might suggest a horror story, and in many respects, it is, complete with head-spinning straight out of The Exorcist, though overall, it is far more comical than frightening, especially with gags being delivered as rapidly as they were. Resistance is futile in a relentlessly high-octane and borderline anarchic production. A highly enjoyable laugh-out-loud night out.
Review by Chris Omaweng
When former priest Arthur Holland checks into a remote hotel, he soon finds out it’s not just the breakfast buffet which poses a threat to life. Forced into an unlikely double act with Gerry, the ghost of a long-dead guest, Arthur must tackle demons both public and private under the watchful eye of Mr Lyle – the hotel’s Norman Bates-esque manager.
Written and performed by Michael Clarke, James Gault and Ed Jones
Director – Jon Brittain
Set and Costume Designer – Cecilia Carey
Lighting Designer – Bethany Gupwell
Sound Designer – Ed Lewis
Video Designer – Nina Dunn
Illusions Designer – John Bulleid
Associate Director – Grace Duggan
Associate LX Designer – Jodie Underwood
Production Manager – Jack Boissieux
CRYBABIES: THE SCARING
Soho Theatre Dean Street
3 to 23 September 2026
