We visited The Royal Exchange Theatre on Thursday to watch Let The Right One In. Read what our reviewer Karen Ryder had to say about this perfect producton for Halloween...

Arriving at The Royal Exchange involved a walk past the numerous buildings taking part in the Manchester Monster trail – a collection of large inflatable monsters adorning our skyline. St. Annes Square was alive with pumpkins hanging from its trees and The Royal Exchange welcomed us with green inflatable monster legs spewing out of its roof, immediately setting the scene for the Halloween spooky vibes before we’d even set foot in the theatre for this vampire themed play. Anticipation and excitement at the thought of being spooked flooded the theatre and as we took our seats, we were warned – there was going to be a lot of blood!

I have somehow been oblivious to the phenomenon of Let The Right One In. A fairly modern novel written by John Ajvide Lindqvist, it has already seen multiple adaptations to screen, with more in the making. It has been adapted for stage by the irrepressible Jack Thorne (Harry Potter & The Cursed Child) and has flown into Manchester under the cover of darkness with sublime timing, ready to pack a powerful bite out of its Halloween audiences.

Oskar is alone. Bullied at school, a mum who drinks, a dad who isn’t really present, no friends, and a teacher who is aware, but who ignores all of this, it is no wonder that his vulnerable world is turned upside down when he meets the intriguing Eli, his new next-door neighbour. Despite Oskar’s challenges in life, he has beautifully kept hold of the honest and accepting innocence of childhood, so the fact that his new friend Eli smells like damp dead dog, or infected bandages hold no significance to him. He likes Eli because Eli is kind and accepting of him. But around this blossoming friendship is a world of darkness. Murder seems to be around every corner, and the trail of victims seem to be getting ever closer to Oskar. As he asks questions of Eli, their friendship is tested, until Oskar witnesses something he can’t escape. Putting the pieces of the puzzle together, he realises that Eli is not entirely who he believed her to be, yet he can’t escape that she is still the same person he became friends with. Through Eli, Oskar learns to stand up for himself, but the disastrous consequences pummel a path of no return, cementing a precarious future for the moonlit crossed couple. We are left wondering is this the happy ending Oskar deserves or does his future happiness with Eli have a sell by date like his predecessor?

Let The Right One In is so much more than another vampire story. I’m not a huge fan of vampire stories to be honest, but I LOVED this production because its heart is actually in its multiple human themes that we all connect with, from isolation, vulnerability, friendship, love, family, acceptance and identity. There is a truly tender and innocent love in the dark depths of this story, instead of the usual predictably passionate and sexual other vampire stories, so much so that you could argue the vampire part becomes secondary to the lesson of acceptance.

This story is quite a complex one to stage with many potential problems. Vampires fly, jump, and bound around for a start, and this has to be achieved without any film magic. On top of that, the story demands the weather plays a large part in the story, depicting an icy cold Sweden. Numerous locations have to be created, including a swimming pool, the woods, a hospital, sweet shop, bedroom and even a train carriage, and it also has to encompass the brutality of the murders alongside the beauty of Oskar and Eli’s friendship. Designer Amelia Jane Hankin somehow managed to crack the code and solve every single puzzle, creating a believable urban world that juxtaposes darkness and light. The cast seamlessly transition us from one location to the next by transporting the various set pieces, such as boxes, climbing frames, beds, and even the woods. Lighting, dry ice, impeccable acting, and a team who know exactly how to elicit a psychological response of fear, anxiety and trepidation in an audience, complete the impressive world in which we are submerged.

The jump factor is present from the off. There is no gentle build up, you are thrown into murder in a way I have never seen in a theatre before. Then, you are lulled into a more relaxed state – making the shock surprises along the way a fantastic reminder of the power of live performance. The Royal Exchange is a brilliant theatre to house this play. As a ‘theatre in the round’ it means actors appear from anywhere and everywhere, and this sense of suspense only adds to the adrenalin. Even in the serene parts of the play, you always have the sense that something is coming, and you won’t be disappointed. From the shock of the opening make up at the start of the second act, to the penultimate scene in the swimming pool, where the audience is plunged into darkness, making you a prime target for the wrath of Eli. Flashes of light allow us to see what she is doing to protect Oskar from the darkest kind of bullying that would have led to his death, and it is equally brilliant and terrifying at the same time.

Every detail of Let The Right One In is mesmerising. The special effects and make up, the fight scenes, the direction, costumes, scenery, lighting, sound – all of it harmonise so well that it is only afterwards you kind of think – I’ve just watched something that was so realistic I recoiled, jumped, hid behind my programme, but it was done right in front of me – how was it not real? I’ve never seen stage fighting like it! One scene in particular shows a teacher getting headbutted and beaten up. Right down to the crack sound, it was utterly believable. It's impossible to understand how they didn’t actually make contact, and the sounds of discomfort from the audience at this moment showed I wasn’t alone in this thought. A similar moment occurred when Hakin has his neck broken and his first victim is hung upside down from a wire to drain his blood. But despite my ramblings, don’t be fooled into thinking this production is all about the gore – I’m a wuss who would have left the theatre if that were the case! It is also sweet, quirky, funny and provided just as many giggles as gasps. The heart of this is the relationship between Oskar and Eli which has been directed so beautifully by Bryony Shanahan. Well thought out details such as Eli climbing and jumping so effortlessly around the set, is contrasted with the awkward, clumsy and funny demounting of Oskar from a simple climbing frame, leaving the audience giggling and falling in love with this sweet boy in equal measures. It’s also wonderful to see Eli with a shy, gentle, and curious side, showing that none of us are just one thing. She is this other worldly vampire who has lived for a thousand or so years, yet she is still able to learn so much from the lonely boy next door. Lessons in acceptance are also hinted towards with Eli telling Oskar they are not a girl, neither young or old, boy or girl, human or vampire – they are just Eli. Oskar accepts this for it doesn’t change the foundations of their friendship and what connects them in any way.

Rhian Blundell is fantastic as Eli. Capable of warming your heart or ripping it out to feed upon, there is such a fully rounded character that every nuance is etched in every detail. Whether it be the grappling with emotions on her face, the character quirks such a wiping her mouth and nose to ensure there is no blood, her defensive position or her more vulnerable ones, Blundell clearly knows her character inside out and therefore we are fully able to believe in whatever she does. Remarkable. Pete MacHale is heart melting as Oskar and has again created such a well-rounded character that his twitchy moves, simple and honest delivery of lines, and his character hesitations ensure you are completely on his side. You feel his vulnerability, and many left the theatre hoping he would be ok, such was the power of his performance that it stayed with you even when the show was over. Darren Kuppan played numerous roles and each with utter conviction. The range of accents, personalities and physicality from one actor was impressive to say the least. Stefan Race as Jonny was so realistic as the bully that as he exited past me at one point, I found I wanted to grab him and have a quiet word about his behaviour!! I of course didn’t, but my point is he gave a completely convincing performance, and brilliantly switched to fear and shame at the end with the introduction of his brother, showing us in a heartbeat why he was the way he was. Anthony Aje, Daon Broni, Mercé Ribot, Kyle Rowe, Andrew Sheridan were all remarkable too, creating an unbreakable cast that have all clearly mastered their craft. Everyone, including The Royal Exchanges Young Company, brought light and shade to this production and made it something I wasn’t expecting but equally delighted I found.

Let The Right One In is a play that shocks on many levels, from its blood soaked moments that will have you grappling for protection off the stranger sat next to you, to its unexpected tender, sweet and loving side, and just for good measure will provide you with many surprising giggles along the way. Expect the unexpected in more ways than one, and remember to close your windows and sleep with the light on!

WE SCORE LET THE RIGHT ONE IN...

You can see Let The Right One In at the Royal Exchange Theatre, Manchester until Saturday 19th November.

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