The Highgate Vampire ★★★

The Highgate Vampire (written by its two performers) describes itself as “A new dark comedy”, but it appears the darkness lies in the subject matter and lighting rather than the actual script and performance because the comedy is predominantly slapstick.

Two competing demon slayers, one a Catholic priest and the other a local tobacconist, compete with each other in the claim of having slain the Highgate Vampire. The former is totally what one would expect of an exorcist: crucifixes, mitres and cloaks, whilst the other, who describes himself as a paranormal investigator, is more Bohemian in dress and outlook.

The priest, Patrick Sheffield (Alexander Knott), ostensibly invites the audience to a ‘lecture’. The audience is addressed as similar experts or those with interest in the occult, but the lecture is soon interrupted by the appearance of Sheffield’s rival, Daniel Farringdon (James Demaine), from which point the battle to discredit each other and promote themselves begins. Farringdon brings his ukulele (skilfully played) to entice Bishop Sheffield into characterising the people who claimed to have seen the vampire. Although Sheffield tries very hard to get the lecture back on track, his predisposition to take centre stage leads him into convoluted narrative detours.

For those who are not aware of the celebrity resting place that Highgate Cemetery boasts – Karl Marx, Christina Rosetti, Bob Hoskins, George Michael, George Eliot, and Malcolm McLaren, to name a few – there is also, by reputation, a legend that supernatural forces exist there. This is the premise of truth put forward by the show, that the Highgate Vampire existed.

In this two-hander set in 1970, both performers play other characters: Lisa and her mate, Barbara, the dog walker, plus Mrs Battersby, all of whom claimed to have experienced a sinister sighting of a tall, shadowy, red-eyed creature who had them transfixed, cold and terrified. Their lives were never the same after that. In these working-class (pre-gentrification) characterisations, we revisit a time where 21st-century technology is unknown and the atmosphere created is almost Dickensian. This clever device adds to the sense of the Gothic and Hammer Horror eras. In fact, Hammer and Christopher Lee are paid tribute for creating that vampire genre.

Farringdon uses a lot of poetic prose in his account of slaying the vampire, whilst Sheffield has a much more directly religious ‘hell and damnation’ approach. The contrasts work well and emphasise the differences and rivalry between them. These comedic devices highlight that comedy, whilst shared, has a subjective resonance: you either find it funny, or you don’t. You will either laugh out loud, titter or grimace. Their overall delivery is still a little rough around the edges (don’t expect perfection), but it is entertaining.

For a running time of 70 minutes, the show has a frenetic pace; however, it lacks fluidity where smooth transitions are required: shadowy figures, by their very definition, require a build-up even if narrated. It would benefit from a time extension to create more of an eerie atmosphere rather than just using red lighting against a black set. Nonetheless, it’s an enjoyable watch and would appeal to adults who enjoy comedy presented with a quirk.

Attempts at a Dickensian/Jack the Ripper atmosphere are the work’s strong point, but The Highgate Vampire still feels like a work in progress, and the ending will surprise few.