This ghostly thriller, written by Ali Milles and directed by Alastair Whatley, sets the tone immediately with an old, draughty croft in the remote Highlands of Scotland. Wispy, swirling smoke gives a delicate, eerie feel, and there’s instant intrigue about The Croft.
Genuinely chilling and moving
Based on a true story, the lives of three women from different generations are intertwined through a permeable timeline. Caroline Harker, as Suzanne, strikes the perfect balance of heart and humour. She is double the age of her girlfriend, Laura (Gracie Follows), and there is an obvious power dynamic – bossy mother versus stroppy youngster – rather than lovers. It’s clear that Laura is looking for a maternal figure, as her own mother is absent. The two characters bounce off each other well, and Follows brings an emotional depth to her fiery character. It’s refreshing to see a female-led, queer relationship on stage, especially one that challenges the taboo of an age gap.
“You’re either welcome, or you’re not,” is the direct statement from David, played by a mysterious Gray O’Brien. David seems to be hiding something and appears to understand the secrets of the croft. Ultimately, though, he just wants to protect Laura – perhaps out of guilt, loyalty, or both – following a past affair with her mother, Ruth (also portrayed by Harker), the second of the generational ghostly characters.
The third key figure is Enid, brought to life by Liza Goddard. Enid harbours a pregnant Eileen (Follows), trying to shield her from the other villagers. There are hints of another lesbian affair to mirror the present-day characters, but this felt rather ambiguous.
The father–daughter dynamic (Simon Roberts) is raw. A letter found hidden in a picture frame brings haunting emotional weight. The push–pull between characters builds tension and anger, all wrapped in overwhelming grief. It’s incredibly moving.
Interwoven through these human dramas is the myth of the Scottish selkie (not selfie!). Is Laura a selkie? It’s left unsaid but lingers across the generations. There are beautiful moments in this production, though the ending feels abrupt. And while the song at the end of Act 1 is serene and beautifully sung by Follows, it seems oddly placed.
Genuinely spine-tingling moments are heightened by the superb interplay of atmospheric sound, lighting and set design – flickering lights, slamming doors and a chair that rocks by itself. Spooky.
