Sloane and Gwyn bring their troubled relationship into a troubled house, one with its own secrets and its own malevolent agenda. Everything is strange, including the people of the town and, especially, the mysterious neighbor. And the ailing grandmother--is she really in that bedroom? And what is really happening in the basement? And is Sloane completely going off the rails? And a box of dog teeth? Really? McCarthy skillfully lets the tension build, all the time leaving us desperate to figure out what exactly is at work, until the chaotic paranormal denouement. Wonderfully scary stuff from beginning to end.

"I want love to win, but I don't think it will."

That's what I said during That scene in Ivories by Riley Elton McCarthy. This is what the gold standard of horror theatre is, people! If you want a show that's if Hereditary, The Shining, and Haunting of Hill House had a baby with pronouns, this is the show for you. Read this immediately, read it again, then call me so we can scream about it.

A slow burn. Riley understands theatrical horror's necessities (and how to make a compelling read!), but this play is so much more. Gender expression, love and relationships, and generational trauma are all emphasized within this play. What do we watch: the play as written or are Sloan's words merging meta-textually with the script? Once you begin reading, it's hard to put down.

This play toys with the theatrical limits of its own medium, but even a minimalist production would understand and highlight the characters' interpersonal drama, which weaves naturally and honestly in between the skin-tingling horror.