The Legend of Sleepy Hollow
Tower Theatre, Stoke Newington
The next head the Horseman claims… could be yours.
Spirits and devilry abound in this rural town. The superstitious new schoolmaster, Ichabod Crane, just wants to teach in peace, win the affection of Katrina Van Tassel and perhaps enjoy a slice of cake or two. However, the unusual townsfolk and haunting spectre of the Headless Horseman may have other ideas for him. In such perilous times, Ichabod would do well to keep his own head. . .
Adapted from the 1820 short story by Washington Irving, this take on one of America’s most famous ghost stories blends eerie suspense with playful humor. The Legend of Sleepy Hollow is a spirited theatrical experience for this Halloween season.
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Last night I watched the wonderfully-coquette and eerily-delicious production of “The Legend of Sleepy Hollow”, at the charming Tower Theatre. As a new resident of Stoke Newington, I was delighted when the stars aligned with an invite to the local theatre.
The Tower Theatre was built in 1875, originally as a chapel, and boasts the most gorgeous geometric glass roof. The Tower Theatre theatre company itself was founded in 1932, purchasing the Stoke Newington building in 2018 after decades of switching homes. With around 18 productions a year, the theatre company is well established in the local area, and does not shy away from pushing creative boundaries and pursuing uniquity.
** Spoilers Hereon **
The Legend of Sleepy Hollow is a fantastical tale adapted from a short story, following the supernatural events experienced by Ichabod Crane. You are pulled into the lore of Sleepy Hollow, and fall down the rabbit hole alongside Ichabod, diving into the thick layers of secrecy and concealment. I highly appreciated the whimsy and mystery of the story – the passion of the actors was plain to see, and the audience matched their energy, creating a wonderful atmosphere.
The Plot
Whether it was the eccentricities of the original 1896 story by Washington Irving, or a consequence of the complicated process of developing adaptations, I felt the story itself was on occasion difficult to follow, and perhaps a tad disjointed in its structure. There was undeniably a build of momentum and tension across the 90 minutes, however – when the intention of a scene was not crystal clear, or the european accent of a monologue impacted its coherence, or the relevance of a newly introduced character was not easily discernible – the tension would ease off as attention would get lost in the details.
The ghost stories came thick and fast: there was the headless horseman, the glowing light in the swamp, the white lady who swore off men, the various characters disappearing in the woods etc. The Legend of Sleepy Hollow – or rather Legends – may have benefitted from a stronger thematic link between the stories, to ensure the tension builds towards the final reveal. This could have been a recurring creepy detail (e.g. smoking branches of a tree), a recurring aural element (e.g. all the characters heard a whistled tune before their fate played out), or a recurring post-fate discovery (e.g. the townspeople always found hoof prints in the mud near the scene).
The cast did a fantastic job of bringing the town of Sleepy Hollow to life. Despite only ten in number, Sleepy Hollow felt as busy and bustling as Brixton high street on a Saturday morning. The energy and dynamism of the stage was undeniable, with the cast leaping on and off stage, making a small stage feel large and absorbing. They must be clocking in at 10,000 steps every night. Giving due kudos to Director Mark Joyce, there were also no small parts among the players, with each getting their moment to shine, and all playing to their strengths. Due to this even distribution of storytelling, and undeniable gumption across the board, it is then difficult to pluck out individual performances, but I shall name a few.
The central character Ichabod Crane was tackled by Daniel Krmpotic with consideration and depth. Daniel painted Crane with a villainous brush, pushing forward an insufferable ego and ignorance – yet, simultaneously mastering a light-handed vocal and physical comedy that garnered considerable warmth from the audience. Daniel gave the performance with consistent enthusiasm, admirable considering there wasn’t a second of the 90-minute run time he wasn’t on stage. Ichabod’s personal character arc could have been further developed through a slight tweak to the story: upon arrival at Sleeping Hollow, Ichabod makes it clear he has a strong skeptical position on ghost stories and superstition, and the headmasters before him had not been dismissed but vanished. By framing Ichabod as staunchly non-superstitious from the outset, a man of science and facts alone, rejecting the stories and the whispers, his descent into paranoia would have been a more compelling transformation. A deterioration of his dignified physical appearance may have also added to this – be it through ruffled hair, dark under eye circles or an undone tie. Likewise, the former headmasters routinely disappearing from Sleepy Hollow, could have alluded to an annual sacrifice from the townsfolk to the horseman – this would not only give the story a more pressured time frame, with tension built around “not if, but when”, but also allow Ichabod to declare he rejects the conspiracy, before inevitably succumbing to it himself.
Ruthie Berk is a delight to watch, performing Katrina Van Tassel through a humorous lens. Katrina struck me as a coquette maiden with a “Gen Z” fire; a mashup if you will, of Curley’s Wife in Of Mice and Men, and Natalie of Yesteryear. Again, speaking to character arcs, Katrina may have benefitted from additional dialogue with her friends to more clearly outline her motivations. Katrina rejects Brom Bones’ proposal citing his hesitancy in the act, and seems drawn to Ichabod’s arrogance and intellect, only to later reject him too, and finally accept Brom. The ping-ponging seemed without strong justification. If it was financial security Katrina was after, Brom could always offer more, as Ichabod relied on homestays, and needed to marry into any land ownership. If it was physical security – Brom wins out there too. If it was purely self-assurance she admires, why does Brom’s flexing and posing that causes townsfolk to faint, not tick that box?
There are two ways I believe the plot could have housed a more authentic arc for Katrina. Firstly, it could be the gossip of the townsfolk that Katrina rejects Brom every summer, only to fall for every new schoolmaster come September. They fawn on her but routinely disappear, leading her to once again give Brom hope. The elderly townsfolk could even hypothesise Katrina is in cahoots with the devils in the woods, and condemns each schoolmaster to their fate – which would have made Katrina’s secret whisper to Ichabod even more eerie. Her final acceptance of Brom would then also either signify the end of the curse, or sway the audience’s concern to the safety of Brom. Secondly, could there be more parallels drawn between Katrina and the white lady ghost story? Baltus Van Tassel, played boldly by Holly Causer, is a key component to moving the story forward on multiple occasions, and Holly masters his commanding tone and presence. However, Baltus’ intentions specifically for his daughter Katrina are not clear – although initially an advocate of the private tutoring, Baltus shields Katrina from Ichabod’s advances, later celebrating her betrothal to Brom. Is there more behind Baltus’ preference in Katrina’s suitors, that could be drip-fed sooner to insinuate Ichabod’s looming fate?
Lastly, I want to commend Julia Malinowska, who absolutely nails physical comedy and had the audience wrapped tight around her little finger. There was a constant boom of belly laughs as Julia squeaked as a creaky tree, or cleared a good metre in the air gracefully leaping as Hans Van Ripper.
The lighting design also needs ample commendation. The use of spotlights in tandem with breaking the fourth wall allowed for light comedic moments, and the use of the projected video for the white lady was very captivating.
In summary, I would like to thank the Tower Theatre for their invitation and to congratulate the cast and director on a phenomenally inventive and intriguing performance. And although the script occasionally lapsed in momentum, I do recognise The Legend of Sleepy Hollow may not be best seen through a critical lens, and instead enjoyed as wholesome light-hearted entertainment.
The show’s run finishes on the 31st, and I do implore any east Londoners to grab their tickets and settle in for some spookiness.
Reviewer: Charlie O’Neill
Photo: Giulia Paratelli