Written by Douglas Irvine and Cameron Hall

Directed by Douglas Irvine

Frights are easy. Jumps and screams are simplistic. Genuine fear is talent.

Fear is a remarkably powerful state. And yet, the rush from it, the exhilarating thrill of something which pushes us into a primal reaction, is a gold standard of storytelling. Horror and theatre never align as often as they should, but when paired together successfully, something remarkably engaging speaks to a rawness in audiences in a way no other shows can penetrate.

We’ve gathered to conduct a research session, specifically of the paranormal kind. Framed in the vein of the hugely successful paranormal television shows like Most Haunted, or the hysteria-sensation Ghostwatch, a terror lurks at the heart of one of Scotland’s oldest industrial estates, as Silver Cloud Studio hosts the restless spirits of Visible Fictions brand new theatrical horror experience, one which merges elements of escape rooms with a fully-crafted story, script, and heaps of improvisation to ensure an immersive experience which guides the shaky hand of a dread-stricken audience through the halls and memories of Ghosthunter. 

In the boxed-up remains of an early-Edwardian townhouse, participants gather to uncurl the rippled edges of Edward’s death – survived by his son Frank. We’re greeted, not by the organiser of the event, but by a keen and budding enthusiast who cannot help but invite us in and share a few of the technical gadgets of ghost hunting, lingering on a photograph of Edward and his family. Well, some of his family. But as we learn Edward’s last surviving son is in the hospital, and we shouldn’t really be here, a few unsettling truths emerge: by accident or through a guided hand? Well, that’s what we’re here to discover.

Ghosthunter’s narrative contains a few too many spoilers to lay out in full but the premise of a group of budding parapsychologists investigating the now deserted house equipped with the latest gizmos enables the audience to piece together a decades-old mystery the house has hidden – and as each scene unfolds, our humble host helps piece together a fuller picture. An experience of peculiar events, unexplained noises, and apparent visitations inside an otherwise abandoned home follows.

The central mystery conceived by Visible Fictions’ artistic director Douglas Irvine and immersive events specialist Cameron Hall is one of family pain, loss, and guilt. As the audience cannot rely entirely on the spectres of the house to fill out the entirety of the story, for once, the audience must work for their supper. Audiences find their true selves within the halls of this townhouse. In the darkness, the flight, fright, or freeze mechanics are put to the test as the scares are turned up to eleven – ensuring even the most sceptical of cynics begin to feel the hairs on their neck stand to attention.

If there’s a Scottish creative to trust in constructing these harrowing halls, it’s Becky Minto. And given how much of the production occurs in complete darkness, Minto’s dedication to ensuring the various scenes are well-equipped and period appropriate is commendable. Each location which can be investigated has merit, a rippling aesthetic across the home, but enough distinct individuality to offer something new. The study, the bedrooms, the kitchen and the main living area are all equipped with a wide variety of spooky surprises, red herrings and a few intrinsic clues to further the narrative.

It’s a shame that not all of the audience can experience each area, given we are separated into small groups to conduct each investigation – meaning some participants spend a touch too long away from the direct action in the ‘hub’ area between scenes. The scale though is handled deftly, offering just enough space to manoeuvre, restrictive enough to heighten the claustrophobic nature. But we’re all aware there’s nothing quite as petrifying as a sound in the night, Simon Wilkinson and Matt Padden’s sound stitches it all together – resulting in a deeply atmospheric and frankly, paranoia-inducing state at times.

Tremendous levels of work have been instilled in the very bones of Ghosthunter, and while the spirit is up to the audience to carry through the story, none of this would be possible – nor the enhanced theatricality of it all – without the guidance and performance of Natalie Arle-Toyne. Taking the principal, and sole role, Arle-Toyne is as comforting in their place within the narrative as they are invested. Never sinister, always in character, Arle-Toyne threads the line of sheer enjoyment at playing the budding parapsychologist and genuine concern over her guests. 

The level of dimensions Arle-Toyne is working with is impressive, especially at the quick pace of adjusting the performance. If audiences shift their eye to a specific element, Arle-Toyne adapts to maintaining control over the interim scenes to preserve momentum and ensure all participants value the experience. There’s a trust from director Irvine for Arle-Toyne to guide the audience back on track if they’re too focused in one area, respecting the crafted narrative, and allowing differing avenues of exploration. It’s a sincere, giddy, and wonderfully personable performance.

Ghosthunter is a show with the mechanics of an escape room but with the pulse and theatricality of the stage. Initial sceptics are remarkably quick to win over, thanks to Arle-Toyne’s immersive presence and stellar natural control of the narrative and pacing. Its storytelling and design deserve to be seen as an artistic expression as much as a piece of enjoyment and experience. A winning reminder of the skill and brilliance of site-specific work and the dedication and craft of a talented team at Visible Fictions who manage to manifest a thoroughly enjoyable experience of theatrical storytelling in a fresh form.