First it was movies. Then television, then gaming. Now Netflix has come for the theatre – a thought that will strike fear into the hearts of purists. But worry not: Stranger Things: A First Shadow – written by Jack Thorne (who transplanted the world of Harry Potter to the West End with great success) and Stranger Things creators the Duffer Brothers and scriptwriter Kate Trefry – is everything a blockbuster production should be: rip-roaring fun.
It’s no coincidence Netflix chose the sci-fi series to front its first foray into theatre. One of the streamer’s first big hitters and one of its most successful franchises (in terms of both hours watched by subscribers and cultural clout) of all time, Stranger Things has already been pushed far beyond its TV limits. There have been Secret Cinema events, novels, comics, board games, video games and, in South Africa, a “Stranger Things experience”.
A stage adaptation was inevitable, then, and while it might be easy to be cynical (it’s impossible to ignore the fact this play is fundamentally a fan-servicing cash cow), it’s just as easy to give into the playfulness of it all. As someone who has wholeheartedly bought into the Stranger Things universe, I was enraptured.
The show opens with a display of Netflix’s might – and its deep pockets. We’re on a US warship, the location of a top secret government experiment, which leaves the boat stranded in the Upside Down, Stranger Things’s parallel dimension which is ruled by terrifying monsters.
Gunshots ring out as the lights flash on and off, demogorgons jump out from around the theatre – and as smoke clouds the stalls and the drama’s familiar, synth-heavy theme tune blares, you feel as though you need a moment to gather yourself. It’s thrilling, edge-of-the-seat stuff. Unfortunately, the rest of the play never reaches these heart-stopping heights again.
The First Shadow acts as a prequel to the TV series, set in 1959 when the Creel family first moved to Hawkins – including Henry, who (four seasons in) will eventually be revealed as the show’s Big Bad, Vecna. This is his villain origin story; arriving as a gawky, nervous teen, the almost three-hour play follows his path to becoming a ruthless killer under the influence of Dr Martin Brenner, starting with a spate of pet murders (which we witness in bone-cracking detail – this is not for the queasy) in the otherwise sleepy town.
The buoyant main characters are younger versions of the adults we know from the series: Joyce Maldonado (later Byers), Jim Hopper and Bob Newby. The casting here is near-faultless; it’s almost unbelievable that Isabella Pappas (who plays Joyce in the play) won’t grow up to become Winona Ryder.
Just as on Netflix, it’s not the monsters or the horror that make The First Shadow so compelling, rather its delicate depiction of teenage friendship. The zingy script comes alive through a spirited explanation of stereotypical high school hierarchy and the sarcasm-fuelled dynamic between the trio.
Stranger Things is known for its discovery of young talent and future superstars – look at Millie Bobby Brown, who was just 12 in the first series.
I have a feeling its stage cast may experience something similar. Two of the leads – Ella Karuna Williams as Bob’s younger sister and Henry’s love interest Patty, and Louis McCartney as Henry – make their debut here. Both are excellent, though McCartney’s furious performance is sometimes undermined by the physicality the role demands; he spends half his time on stage flailing and fitting as the dark forces of the Upside Down infiltrate his mind.
Villain origin stories are overdone, but with such powerhouse storytellers at the helm, this rarely feels cliché or predictable. Still, one does have to be well-versed in Stranger Things mythology (from the Mind Flayer to Henry’s eventual transformation into Vecna) to understand what’s going on; The First Shadow is light on plot detail and spends no time pandering to those who need exposition.
But who cares? The stagecraft is phenomenal, and the near non-stop razzle dazzle distracts from any lack of detail or clarity in the storyline. Beams of red light indicate when we’re about to enter the void of Henry’s telekinetic mind, lights around the theatre flicker and explode, and the stage itself cracks and transforms into a gnarled beast. There are musical numbers, slow-motion scenes, and exploding rats.
Whether you are a die-hard fan poring over how this fits into the Stranger Things canon, or a Hawkins newbie feeling a little confused, The First Shadow is so mesmerising it is impossible not to be stunned by the spectacle of this electrifying show.
Phoenix Theatre, London (strangerthingsonstage.com)