The Bone House

The concept behind The Bone House certainly piques curiosity—after all, a theatrical exploration of serial killers is bound to stir intrigue. Initially, the show hinted at an educational angle, offering glimpses into real-life cases. However, it quickly veered into a more unconventional and abstract direction that left me uncertain about its intent. Audience participation was introduced early on, with select patrons being moved around the space. This suggested an interactive element that might influence the narrative, but ultimately, it had little impact on the progression of the play. The dynamic felt underutilized and didn’t contribute meaningfully to the experience. As the performance continued, it struggled to maintain engagement. The pacing and structure lacked cohesion, and by the time the ending arrived, it felt jarring and absurd—more baffling than thought-provoking. For fellow Fringers seeking a compelling or insightful dive into dark subject matter, this production may fall short of expectations. While it had potential, the execution didn’t quite deliver.

My favourite type of Fringe shows are immersive ones, where the audience becomes a part of the experience, and The Bone House may be the best I've seen in the category.

The audience was riveted - at one point a character comments on the sounds from the audience, but we were silent, collectively on the edge of our seats. I don't think I've ever felt so unsettled at a show as I did here.

The "horrible secret" of Crowley's mentioned in the show description was not at all what I expected, and probably not what you're expecting either.

If you like learning about true crime, you enjoy scary movies, you're a fan of immersive theater, or you just want to relive your university days and attend a lecture, you can't go wrong here.

The show delved into the inherent perceptions and trust that exist within all people—and how serial killers exploit these traits to their advantage. This exploration was made all the more compelling by the captivating Eugene, an exceptional storyteller. However, while the show presented many opportunities to further immerse the audience in the narrative, unfortunately, these opportunities were not fully realized.

I have never been to a show that was this type of immersive and from the moment we walked in to the venue, it was clear it was different. Being a member of the audience as an attendee at a presentation on serial killers was a very cool idea, and one that allowed the actors to create a more personal experience for us.

The use of interactive moments added fun and increased my attention every time. The passion the actors all used for their roles was contagious, and I felt myself wondering more about the topics of the presentation as I sat and listened.

The use of tech and lighting isn't usually something I note at the Fringe, but it honestly made this show what it is, and that's something you have to see.

Go see it, and definitely bring a friend.

I saw the play on Saturday. The performance by Jack Walker as Eugene Crawley was powerful and believable. I was a participant at a seminar about serial killers.

The script took up 75 minutes and in my opinion, every minute was necessary to build on the suspense and creepy atmosphere.

An exceptional, immersive experience. If you are a fan of crime drama, don’t miss it!

Bone-Chilling!

The Bone House, a review by Andrea Noga.

Ted Bundy, Jeffrey Dahmer, John Wayne Gacy Jr… why do we remember their names, but not the names of their victims? Why are we so fascinated by murder, rather than repulsed by it? We are asked these questions in Marty Chan’s immersive, psychological horror play The Bone House.

The Bone House follows lecturer Eugene, and his assistant Jacob, as he walks through a history of serial killers and explores the fascination society has with brutal crimes. He introduces us to “Midnight Cowboy” a local, fictitious, serial killer who has been killing largely undetected– his crimes seen only by Eugene and a few witnesses who were not believed by the police.

Local actor Jack Walker stars as “Eugene”, the central lecturer, in a committed and steady performance. Walker captured the audience from his first word, and kept us in his grip throughout. Beginning as a calm teacher, leading us through the history of serial-killers, we soon learn how deep this runs for Eugene, much deeper than running a simple presentation. Walker portrays the evolution of Eugene with a clear eye, and a strong grasp on his character. Another memorable performance comes from Sarah Dolman as “Gabrielle”, an almost victim of The Midnight Cowboy. Dolman, who gives most of her performance with her eyes closed, relives the trauma of Gabrielle in a way that feels real and deeply personal. The audience aches for her, all due to Dolmon’s sincere performance.

The Bone House stands out at Fringe due to the immersive elements. Eugene is the lecturer, and we are the audience. The actors do not come out to bow, and you will be asked to leave your phone at the door (this is optional). There is active audience interaction, and you may even be asked to move during the performance. While I enjoyed many of the immersive elements, they appeared too few and far between. Especially within the central character of Eugene, I believed there could have been more opportunities to bring the audience into his world and interact directly. However, it still created for a unique experience.

Marty Chan’s script is still a work in progress, (they asked us to leave numbers for a feedback form at the viewing) however there is promise to the writing. Why are we fascinated by serial killers? It is a good question, and an entrancing premise to explore. Where the script lacks is landing genuinely unnerving lines. There is too much preaching in the script, and not quite enough horror. However, as it is, there is still plenty to make your bones chill.

How do you recognize a serial killer? Could it be your neighbour, your friend, your child? The Bone House tells us how we never really know the people walking beside us, and it shows us through strong performances, and a very, very promising script.

The Bone House plays at the Sugar Swing Ballroom.

This play is an example of why I don't like to see shows without my partner! I want him to experience it too, so now I have to go again! I haven't seen a show anything like this one before. I wasn't sure at the start and then it all started to roll together. Audience captivated and a tough subject was well handled and thought provoking, even many good laughs. The lighting and use of tech added another layer to the stage and the 'feel'. A good solid show, definitely go see it, and play along.....