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House of Edgar | Seven Dials Playhouse

House of Edgar is an original new musical by Thomas F. Arnold, which is directed by Beth Clarence and produced by Jack Dryden. The musical is loosely based on the complicated and tense friendship between the famous writer Edgar Allan Poe and well-known writer and critic Rufus Griswold. Drawing inspiration from Poe's life, legacy and works, Arnold has created an intelligent show that takes a unique perspective with a supernatural twist. This particular production was staged as a work-in-progress concert, and is currently still in development. 


When Rufus Griswold (Joaquin Pedro Valdes) goes to the house of the late Edgar Allan Poe (Max Cadman), he's greeted by Poe's assistant, Price (Archie Aitch Wylie). Griswold, who's been both a long time rival and friend to Poe, has been assigned as his literary executor, yet let's his personal vendetta take over and begins to tarnish and destroy Poe's work. On this particularly stormy night, Griswold discovers a hidden letter from Virgina (Lauren Jones), with whom he had a secret long-standing romantic relationship. As Griswold's impenetrable exterior begins to cracks with a renewed yearning and loss, a spiritual Poe returns with his own agenda. Years of secrets, funds, lies, jealousy, rage and love begin to unfold, creating a rich and thrilling tale about the House of Edgar Allan Poe


The cast is compromised of Joaquin Pedro Valdes, Lauren Jones, Archie Aitch Wylie and Max Cadman, who are each extraordinary in their roles. Cadman astonishes with his eerily yet emotional portrayal of the late poet Edgar Allan Poe himself, with remarkable vocals. Cadman captures the tortured yet still pretentious essence of Poe, and his performance elevates the musical as a whole. Cadman's rendition of the song 'The Raven' is one of the show's most exciting and explosive moments, pouring his entirety into the piece. 



Jones as Virginia Poe, Poe's young wife, is remarkable. Despite her limited stage time, Jones delivers a moving and unforgettable performance, especially in her moving number 'Too Late', where both Jones and the audience were moved to tears alike. A more grounded and gentle presence amongst Griswold and Poe, Jones brings a lovely sense of melancholy and sweetness into the piece, as beacon of light in the musical. Wylie is splendid as Price, Poe's housekeeper, who frames the musical. With a natural gift for storytelling, Wylie holds the musical together, helping to refocus the show from the perspective of each character. Price is a small but strong role, and Wylie brings out the best in them. 


Valdes is at the top of his game in the show, effortlessly belting out Arnold's brilliant numbers or gently harmonising. Rufus Griswold is a complicated character, existing in several layered plotlines all at once, and Valdes guides the audience through each new emotion with a firm hand. Spectacularly expressive, Valdes breathes life into the Griswold, infusing the character with his own cheeky charm, whilst also remaining cold and calculative. His desperation to cling onto his reputation and his ever present sting of his loses radiate through the audience. 


Both dazzling and sensational in their own right, Valdes and Cadman are perfectly paired as opposing forces in the House of Edgar. Valdes' mischievous and cocky Griswold meets his match in Cadman's booming and emotional Poe



Each song has been so carefully carved from Poe's own work and life, yet strike their own chord as an impressive debut. Arnold draws titles and themes from Poe's most famous works, creating the songs 'The Raven', 'Annabel Lee' and 'The Tell-Tale Heart', yet weaves this to fit a new irresistibly gripping and dark narrative. Arnold demonstrates a superbly sharp range of songs, each one instantly enticing and excellent, each unique and catered to the character, with Virginia's songs softer and more melodic, Price's more stoic, whilst Poe's and Griswold's are more powerful. The lyrics, rhythm and beat make the music an instant hit, and will leave audiences waiting eagerly for a fully fledged album. Arnold is a promising young composer and lyricist who beautifully blends poetic language with a rocking score that shines, an upcoming composer that is definitely to be watched. 


The cast are stood at stands with microphones and scripts, with Arnold accompanying them on keys behind them. Yet the staging never inhibits the actors or characters from feeling alive and fully-fledged, with small interactions and a clever minimalistic scene transitions. Alex Brown (tech manager) creates an immersive storm with long periods of blackouts, the sounds of rain and thunder, frequent flashes to denote lightning. The audience are submerged into this, which enhances the experience. Brown uses various coloured lighting, often a dark red or purple for the show's more sinister scenes, and a warmer glow for flashbacks. The cast use pages from the script as props, often crumpling or tossing sheets about. Despite a short rehearsal period (around 3 days), the staging feels stable and well-thought out. 


House of Edgar is an excellent edge of your seat show, that's compelling, thrilling, mysterious and exciting. It maintains its momentum throughout, and allows its haunting quality to infiltrate and almost terrify the audience. Arnold raises more than just spirits in his musical, he also raises hell and the roof. The musical, which is already in excellent condition, will be under further development before any future productions. 


⭐️⭐️⭐️⭐️⭐️ (5*)


Photography by Michaela Walshe

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