Grey House review: Laurie Metcalf and Millicent Simmonds delight in a haunting play full of heart

"I've seen this movie," husband Henry remarks to his wife, Max, at the beginning of Levi Holloway's Grey House. After surviving a car accident, the couple have sought refuge in a ramshackle cabin in the woods in order to escape the raging blizzard outside, and hopefully call for help. They're frazzled and injured, but alive — for now.

"What happens?" Max asks.

"We don't make it," Henry replies.

While the eerie beginning may draw inspiration from tried-and-true horror tropes, Grey House, which recently opened at the Lyceum Theatre on Broadway, succeeds in subverting both the genre and audience expectations by weaving together a haunting story of horror and heart. Unfortunately, Holloway's puzzle-box mystery doesn't give viewers all the clues they need to fully comprehend the tragic tale it's trying to tell.

MurphyMade Colby Kipnes, Laurie Metcalf, Sophia Anne Caruso, Millicent Simmonds, Alyssa Emily Marvin, Tatiana Maslany, and Eamon Patrick O'Connell in 'Grey House'

Max (Claire Karpen) and Henry (Paul Sparks) quickly learn that they're not the only occupants of the decrepit shack. The place, with all its dusty tchotchkes and baby dolls, is actually the home of a gaggle of curious kids: rambunctious Squirrel (Colby Kipnes), no-nonsense Marlow (Sophia Anne Caruso), clever A1656 (Alyssa Emily Marvin), thoughtful Bernie (Millicent Simmonds), and the watchful Boy (Eamon Patrick O'Connell). They're all looked after by their gruff, rough-and-ready sometimes-mama, Raleigh (Laurie Metcalf).

The strange family welcomes the couple with open arms, tending to Henry's shattered ankle and offering a place to stay until the storm subsides. Better yet, they encourage Henry to sample their very best moonshine — or "nectar of dead men," as they call it. If it's all starting to sound a little too good to be true, that's because it very much is, as Max and Henry discover that nothing within the house is as it seems, including each other.

Those interested in knocking on Grey House's door should know that it's much more of a psychological thriller than a classic horror tale. That's not to say it isn't scary — the production is deeply unsettling, and at times absolutely stomach-turning — but it relies on spine-chilling atmosphere, powerful use of sound and silence, captivating mystery, and unbearable tension that slowly festers across its 90-minute runtime. Audiences in search of jump scares won't find them here, but the play's dramatic conclusion — in all its sick, twisted, and agonizing glory — is well worth the wait.

MurphyMade Colby Kipnes and Paul Sparks in 'Grey House'

That said, there's also plenty of humor and joy in Grey House. Some of the play's very best moments come from watching its children gleefully stomp, twirl, and sing along to Sylvan Esso's "Come Down" and Bobbie Gentry's "Reunion" together. Simmonds, who is deaf, performs the tunes in American Sign Language alongside her costars, who, under the tutelage of ASL director Andrew Morrill, also sign with and interpret for her character throughout the performance.

Without spoiling any of the mystery, Grey House is a play that leaves viewers with more questions than answers. Plot elements that seem to make sense in the moment don't line up upon later reflection, or they lead to follow-up questions that unfortunately can't be resolved in a single viewing. In that sense, Grey House encourages audiences to return to pick up the clues they missed the first time around, but that could've been remedied by adding a few more concrete answers to its book, especially since it explores such heavy and sensitive subject matter. Even now, there are still multiple things that I don't understand about Grey House, which could either be freeing or frustrating for viewers.

While the premise is certainly up for debate, the caliber of the performances is not. Under Joe Mantello's skillful direction, Karpen — filling in for Tatiana Maslany, who was out due to illness — brings a sense of both affability and terror to her portrayal of Max, while Emmy-nominated Sparks' slow descent from a wisecracking, self-assured husband into a man unraveling at the seams feels frightening and earned. Metcalf wows as Raleigh, imbuing the character with a hardened edge as well as a mother's touch. The two-time Tony winner's relationship with the kids often vacillates between hilarious and heartbreaking, and it's her simple scenes with Simmonds and Caruso that are far and away the most poignant moments of the show.

MurphyMade Sophia Anne Caruso, Alyssa Emily Marvin, and Millicent Simmonds in 'Grey House'

However, it's the children — many of whom are making their Broadway debut in Grey House — who really steal the show. Simmonds, a horror veteran after starring in the Quiet Place films, breathes empathy and resilience into her performance as the tenderhearted Bernie, who can often pinpoint shocking events that will unfold on stage down to the exact second. As Marlow, Caruso brings an apt mix of skepticism, sorrow, and dry wit to the complicated character, while Marvin makes A1656 a character that's impossible not to love with her charming and astute nature and effortless delivery.

Kipnes' stellar performance as Squirrel is laced with a grim ferocity that is matched only by her mysterious counterpart, played by the terrifying Cyndi Coyne. Trapped within it all, O'Connell's straight-faced Boy gazes on the unfurling saga with wide, unflinching eyes while the house, a veritable character in itself, continues to moan and groan under the weight of the dark tragedy playing out within its walls.

MurphyMade 'Grey House'

Although its overall message may be clouded amid the hazy supernatural storyline, Grey House is a bold, original, and unapologetically eerie play that will continue to haunt theatergoers long after they've left the theater. Those who are drawn to its call should definitely pay Grey House a visit — they've been expecting you. Grade: B

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