The Highgate Vampire Review: further into farce than fear
- Emma Knott
- Feb 2
- 2 min read
01 February 2026 I 19:30 I Cockpit Theatre, London
⭐⭐⭐ I PR - Invite
On an appropriately dark and drizzly night, it was time to hunt a prolific vampire with a priest and a tobacconist, played by co-writers Alexander Knott and James Demaine. The Highgate Vampire is a dark comedy by Bag Of Beard Theatre, inspired by a supernatural London story that first caught Demaine's imagination working on an entirely different production. A gothic and folk-horror enthusiast, Demaine shared with his co-star the legend of a vampire allegedly terrorising Highgate Cemetery in the 1970s, and the tale of two unlikely companions who set out, in all seriousness, to slay it.
The Highgate Vampire is an intimate two-hander at the Cockpit Theatre, with the occasional appearance of Audrey, said to be controlling the technical elements of the evening. Atmospheric sound (Samuel Heron) and lighting design (Orion Slater) are among the strongest parts of the production, adding depth and texture to the storytelling.
The show begins as a lecture, with the two characters recounting different people's encounters with the alleged vampire. Knott and Demaine enthusiastically, and often exquisitely, reimagine these figures, making effective use of costume and props to transform into a wide range of characters. Although these transformations are intentionally incomplete, leaning the tone firmly into comedy.
Directed by Ryan Hutton, there is real promise present, Knott and Demaine are both excellent performers. Sustaining an audience's attention with such a small cast is no easy feat, in fact one they largely succeed in. However, the production lacks a clear timeline, jumping rapidly between stories and characters. This constant movement pushes the work further into farce than fear, with comedy outweighing the spooky aesthetic. Rooted in gothic folklore, it can feel surprisingly thin on atmosphere. Expecting something akin to The Woman In Black, slow burning tensions and creeping dread are left unmet, as we crave jump scares and unsettling scenes.
Its unpredictability is undeniable, which often reinforces a quirky, playful nature. Moments such as an unexpected song in the middle of the performance are entertaining and engaging, yet further assist in diluting any menace. The central concept and opening are confident, though the momentum begins to drop with the frequent bickering between the two main characters. At times amusing, it disrupts the narrative to give an improvised feel alongside audience interaction.
Overall, The Highgate Vampire is an engaging but uneven piece that struggles to reconcile its ambitions. Abundant in wit, performer chemistry and theatricality, these strengths often mask an unsteady lack drive and atmosphere rather than trying to resolve it. To promise gothic intrigue, Bag Of Beard Theatre present something far lighter and devoid of emotional stakes. Reminiscent of an entertaining sketch show build around a clever idea, a still enjoyable vision requires a greater tonal bite to convince its audiences.
Recipient of the Stephen Joseph Transfer, The Highgate Vampire has completed its run at the Cockpit Theatre. To receive updates on Bag Of Beard's work, you can follow them on Instagram:
