If you find Laurie Metcalf in a cabin in the woods, don’t go in.
left off, directs a few old-fashioned theater-trickery jumpscares: A figure suddenly appears above a fridge at the back of the set, we are treated to a handful of sudden blackouts, and the contents of that fridge change nearly every time a character opens it. While the girls tend toward artifice, Mantello gets good naturalistic performances from the adults. Sparks, as always,well, and Maslany finds a brittleness that aligns with her character’s recent loss of a sister.
I won’t try to explain what exactly is going on in the Grey House, both in order to avoid spoiling the plot and because I’m not entirely sure myself. I’ll just say that Holloway inches toward a double-underlined, not exactly groundbreaking message about how men treat women, though the more the play tried to emphasize its insights, the less I bought into them.
That late sequence serves as a reminder that, whatever you might assume from the proliferation of big loud spectacle on Broadway, theater is often a perfectly natural space for scaring us. What you lose without close-ups and CGI, you gain from sitting among many people in the dark helplessly watching an unthinkable act unfold in front of you. The scariest thing I’ve seen in a theater was probably
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