The Monkey’s Paw – Hope Theatre, Islington

Writer: Infinite Space Theatre, adapted from W.W. Jacobs
Director: Leah Townley

Reviewer: Christine Stanton

“Woeful Wishes“

3 / 5

Adapted from W.W. Jacob’s classic short horror story, Infinite Space Theatre’s adaptation of The Monkey’s Paw is a suitably creepy production in the lead up to Halloween.

John (Steven Maddocks) and Jenny White (Josephine Rogers) live a simple life, desperate for a child and struggling to make ends meet. John’s work in a museum lands him an encounter with a mysterious monkey’s paw, hidden away in a mummified child. He quickly realises it grants wishes, but as the old adage says – be careful what you wish for. While lamb stew and large sums of money seem like a good idea at the time, they come at a price, which neither John nor Jenny are happy to pay.

It’s an interesting adaptation, that fleshes out the couple’s dynamic well. Their yearning for a family is touching and emotional, easily explaining John’s attachment to the backstory of the mummy, and Jenny’s emptiness as she fills her days with sewing work. The build up to finding the paw is well paced, and their slow realisation of its powers is realistically believable. Though, considering the paw is the main focal point of the narrative, it’s bizarrely not utilised often enough during the 80 minute runtime, and at one point the characters have completely forgotten about it, remembering as an afterthought when they discuss their wishes once again, as if you would forget you have a magically mysterious, wish granting object?!

Another aspect that could be better developed, is the portrayal of the White’s child. When the first cloth baby is introduced, the assumption is that they finally overcame their losses and had a successful pregnancy, when it is later explained to be fake, and the (utterly terrifying Annabelle-esque looking) doll is produced instead after a wish for his reality, there is a second assumption that now that one MUST be real. Although John is distant – he’s a father in Edwardian times, and never seems concerned with Jenny’s adoration, he even gets bitten by the child at one point. So when this doll is also explained to be fake it adds a confusingly frustrating level of ambiguity that hinders audience investment into the narrative.

Creatively there are some wonderful elements – the red cloth portrayal of loss is simple, but clear, gentle and impactful. The set, costume and prop design (Gisela Mulindwa) immediately signifies the Edwardian period, which in combination with the atmospheric sound design (Peter Michaels) creates some excellently eerie tension, heightening the supernatural storyline.

Runs until 8 November 2025