Stranger Things: The First Shadow

The ordinary and extraordinary contrast in this theatrical prequel set around 27 years before the Duffer Brothers’ Netflix series Stranger Things begins. Kate Trefry wrote the two-act supernatural, sci-fi-thriller origin story of fearsome Henry Creel’s genesis of terror. The story was originated by the Duffer Brothers, Jack Thorne (Harry Potter and the Cursed Child), along with Kate Trefry. For those familiar with the series, no introduction is needed to the theatrical presentation currently at the Marquis Theatre. The production transferred from the West End in London to Broadway where it opened on April 22nd. For an example of some of what you’ll see on Broadway, albeit with a West End cast, except for the superb Louis McCartney who reprises his role as Henry Creel, check out the 2024 West End Trailer.

For those unfamiliar with the series, the production can stand alone, though audience members must remain quick-witted to follow the rapidly paced, brief, myriad scenes directed by Stephen Daldry and co-directed by Justin Martin to catch onto the macabre identities of the wicked paranormals that struggle to inhabit the otherwise hapless Henry Creel, a victim of being in the wrong place at the wrong time. The plot development of Stranger Things: The First Shadow riffs off Season 4 of the Netflix series, which is set in 1986, and features the nefarious Vecna, the “evolved” Henry we are introduced to as a struggling victim in this Broadway production set in 1959.

However, there is another layer and flashback to WWII which is the phenomenally brilliant opening of this production. This event illuminates how all of the series’ horrific, paranormal folly began.

Trefry and the gobsmacking creative technical team take us back to a weird rumble in the space time continuum that happened in 1943 that we see live on the stage and surrounding us as photographers circle up and down the aisles of the theater to film an incalculable experiment. Trying to gain an advantage over Nazi Germany, scientists attempt to make a US battleship invisible as a new weapon to evade the German submarines patrolling the waters, yet have it capable of firing at and destroying German U boats. In the process the “invisibility” experiment fails and there is a devastating explosion which breaks into the multiverse fabric of time’s layers and results in the extraordinary and the unexplainable of “Stranger Things.”

It would seem all men onboard the U.S.S. Eldridge are lost. Hold that thought for later in Act II. One of them is alive and “the government” via mercenary scientist (conspiracy theorists will love this), Dr. Brenner (the frigid, android-like Alex Breaux), takes advantage of what happens to the body of the only remaining naval officer who survived the catastrophe. (Well, after all, the officer volunteered for the experiment-no liability lawsuits by “family” possible.)

This astounding feat of technical illusion at the top of the production is breathtaking and prepares the audience for more of the same at the directors’ fever-pitch pacing throughout. Awards will certainly go to the teams that create the supernatural horror-illusions. The visual-effects design is by Jamie Harrison and Chris Fisher (“Harry Potter and the Cursed Child”). The video design and visual effects are by the 59 company. Additionally, with Paul Arditti’s sound design and Jon Clark’s lighting, the production becomes an animated, frightening, “telekinetic” wonder.

After this terrifying, immersively staged flashback, we step forward to 1959 in boring, mundane Hawkins, Indiana, a contrasting setting and hopeful place of refuge. There, Henry moves with his parents Victor (T.R. Knight), Virginia (Rosie Benton) and younger sister Alice (Azalea Wolfe on Saturday evenings). Henry’s paranormal talents, apparently unwelcome yet alluring, have allowed him to harm someone in his previous high school during a macabre event. This prompted the “perfect” family to leave and seek peace elsewhere. However, the circumstance involving Henry upset his mother, Virginia. She counsels Henry to repeat when he becomes anxious, “It’s not real. I’m normal. I’m Henry Creel.”

Part of the enjoyment of the uncanny horribleness of it all is how Henry attempts to be “normal,” but founders miserably at it. He is so, so creepy and preternatural. McCartney is just too good as an embattled, “terrified of himself” Henry.

As an isolated and lonely individual who only feels comfortable playing his radio, Henry fortunately does meet someone in his current high school with whom he can share a bond. Patty Newby (Gabrielle Nevaeh), is adopted and is emotionally abused by her father, and insulted by the high school students. As an obvious outsider, she and Henry (McCartney’s shy, weird, strange, pale, electrically-wired persona is incredibly effected), find solace in one another. Henry uses his powers to help her imagine and then “dream-manifest” her mother, who she discovers is alive. On the other hand, Patty helps deter Henry from submitting to the encroaching evil forces by inspiring him with her affection and attention.

In a tie-in to the plot as pets are being killed and students become involved in investigating the “whodunit,” the play includes the youthful versions of the older TV characters familiar to fans of the series. Patty’s brother, Bob (Juan Carlos), is the pudgy brainiac and the founder of the Hawkins High A.V. Club, instrumental in locating the source energy where “something is going on,” and turns out to be Henry’s house where indeed, more than something is going on. The police chief’s son, James Hopper Jr. (the endearing, funny Burke Swanson), and the high-pitched, theatrical Joyce Maldonado (a frenetic Alison Jaye), also form a bond. Joyce is the director of the play that brings Henry and Patty together. Joyce and Hopper, Jr. join efforts with Bob to find the pet killer to get a $100 reward (a lot of money back in the day).

Additionally, the three help Patty discover what happened to her father, Principal Newby, after he went with Victor Creel to confirm his daughter Patty and Henry were “hanging out” (a “no-no”), at the Creel house. When Principal Newby grabs daughter Patty to take her home, the wicked being attempting to overtake Henry rises up and Vecna (what Henry evolves to later in the 4th series), thunders loudly, “She’s ours.”

As Henry struggles to reject the evil, the scene culminates with a bloody attack. Though Bob, Hopper, Jr. and Joyce believe that Victor Creel is the animal killer, we anticipate the growing malevolence is overtaking Henry, and Patty, who says she is not afraid, is in danger. This becomes especially so when the others and Patty discover her father, Principal Newby, has been savaged and no one knows quite what happened. However, after he is given “mouth-to-mouth” he proclaims, “Find the boy. Save the boy.” as his bloodied, vacant eyes stare out of blackened, emptied sockets. Like blind, prophet Tiresias out of Greek mythology, Principal Newby prophesies save Henry or doom them all. But save him from what? From whom?

Aware that her son needs help, her husband can’t deal with his PTSD from WWII traumas and a terrible murderous event he caused, Virginia calls up specialist Dr. Brenner. He will be the one to help Henry as the good doctor takes Henry away into his care and where he conducts interesting lab tests and experiments to divine his preternatural behavior. Little does Virginia realize what Dr Brenner’s help entails and how she just made the worst decision of what is left of her life, her daughter’s life and her family’s sanctity and safety. With Dr. Brenner’s introduction, the intermission comes and the audience is stunned and exhausted wondering how Act II can be whipped up with an even greater accelerent into chaos and frightfulness.

No need to wonder. The creative team pulls out all the stops for Act II to explode and technically materialize the creatures and the themes that grace the series. By then we understand that Henry no longer exists. Like many we see today in our culture and society, he has been completely subsumed by another identity altogether. And it isn’t kind, decent, loving or generous. It is a horrible, paranormal, deplorable.

This is an incredible production which resounds visually and aurally long after you have left the Marquis Theatre. Louis McCartney steals the show as Henry. You can’t take your eyes off him expecting the best or the worst. His performance is brilliantly conceived. Gabrielle Nevaeh as his second, for a time, is empathetic and we are happy to see that she makes it through to the end. The ensemble does a fine job of tossing the ball back and forth to the one with the greatest scenes to steal. And the effects are more than breathtaking, along with the superb set design (Miriam Buether), period costume design (Brigitte Reiffenstuel), and Daldry and Martin’s staging and direction. You will be wondering how the effects were achieved, but then you also wondered in the same way when you saw Harry Potter and the Cursed Child.

Stranger Things: The First Shadow is a spectacle and in every way a credit to the series with a budget to prove it. It runs 2 hours 45 minutes with one intermission at the Marquis Theater on 46th St. between 7th and 8th. If you love the franchise don’t miss it. If you are not one for the macabre, the chill-thrill-shocker ride to hell and nightmares, see it anyway. It is a phenomenon for the technical skill displayed. As such productions like this don’t come around very often and should be appreciated for the artistry and skill to employ digital wizardry more easily accomplished in the film and TV medium than in its conversion to theatrical stagecraft. strangerthingsonstage.com.