Travis A Knight, Cher Álvarez (Photo: Matthew Murphy)
Paranormal Activity
By Matthew Roland on September 10, 2026
With the opening of Paranormal Activity, horror is alive and well on Broadway, which is saying something, considering the genre usually has a pretty high mortality rate. After its highly praised runs in Los Angeles, Chicago, London, and Toronto, Paranormal Activity is attempting to bring its beloved movie franchise to the Great White Way with a new original play under the same name.
“Places aren’t haunted. People are.” That’s the premise at the heart of this entire franchise: the idea that people who experience a haunting can never truly escape it, because the horror follows them rather than simply remaining within the space they inhabit. It’s that forever-sinking feeling of existential dread in your stomach, as something unseen slowly takes over your entire life.
Written by Levi Holloway, this seemingly simple plot follows married couple James and Lou after their move from Chicago to London, where they begin a new chapter in their lives before realizing that what they thought they had left behind has, in fact, followed them across the pond.
Does this play go into it thinking it’s going to win every award? No. At first, I was worried by the slow burn of the opening ten minutes of dialogue. But I quickly began to realize what was happening. I became increasingly uncomfortable not knowing where or when something was going to happen, even though I had been anticipating it from the moment the lights went down. Holloway knows how to build suspense when writing horror, something I remember from his previous, sadly cut-short run of Grey House, which did an equally impressive job of creating that same sense of suspense I felt during Paranormal Activity.
Cher Álvarez (Photo: Matthew Murphy)
Felix Barrett’s direction is simple yet powerful. With an incredibly small cast, the majority of the play focuses on the main couple, yet the direction makes the production feel surprisingly expansive while still remaining intimate. Barrett keeps the story moving with intention, maintaining a sense of momentum that kept the audience engaged.
The occasional overly drawn-out blackout or pause used to break up a scene is about as annoying as bringing down a mid-stage curtain so someone can sing a 30-second song in front of it while a scene change happens behind it. To me, it’s a lazy transition. Even though Barrett uses this technique here, you can see that it’s done correctly and timed perfectly. As the play builds toward a massive audience reaction, the blackout gives everyone a moment to breathe, laugh, or cry, depending on their personal reaction to what they just witnessed, before jumping back into the play. In this case, what could have felt like a lazy transition instead becomes an intentional part of the experience.
Travis A. Knight (James) and Cher Álvarez (Lou) have a palpable chemistry that is apparent from the moment you meet them. Even as they navigate their own baggage and moments of misunderstanding, they approach these issues with a sense of maturity and humor that both actors execute incredibly well. These characters go on an emotional rollercoaster that must be both physically and emotionally draining, but Knight and Álvarez fully embrace it and give you everything you need to join them on the journey.
Travis A. Knight (Photo: Matthew Murphy)
It’s also refreshing not to see a “big-name” celebrity at the forefront of this piece. It makes the relationship between James and Lou feel more natural, without constantly reminding you that [insert A-list celebrity name here] is the one being possessed.
Also featured in the play are Sharron Cochran, who plays James’ mother, and Eva Kaminsky, who plays Dr. Etheline Cotgrave. Both roles are small but incredibly important, with their scenes bringing out some of the most intense emotions throughout the piece. Cochran and Kaminsky both execute their roles brilliantly, making the most of their limited time onstage and leaving a lasting impact.
The true standout of this play may well be the visual design. With scenic and costume design by Fly Davis, illusions design by Chris Fisher, lighting by Anna Watson, sound by Gareth Fry, and video & projections by Luke Halls, every element comes together to bring this story to life. The real star of the show, however, is the set: a two-story dollhouse that opens to reveal the entire home of James and Lou. Downstairs, there is a living room, dining room, and kitchen, while upstairs are the bedroom, bathroom, hallway, and a second bedroom that is just barely visible behind a closed door.
When all these elements come together, the result is pure theatre magic, and this team delivers a masterclass in how it’s done. None of the emotions I experienced while watching this play would have been possible if even one of these elements had held back. Instead, these creatives work together seamlessly to create something truly remarkable on that stage, a visual masterpiece that elevates the entire production.
As a lover of horror, I’ve been highly anticipating this piece to kick off my 2026–2027 Broadway season, and it exceeded my expectations. If you’re looking for a fun night out and want to get yourself ready for spooky season, go and haunt the August Wilson Theatre to catch this limited run. With its scares, suspense, and stunning design, Paranormal Activity proves that horror is not only alive and well on Broadway but is also worth the elevated heart rate for a few hours.
Paranormal Activity
At the August Wilson Theatre
245 W. 52nd St
Running time: 2 hours, one intermission
Open run
