By Liz Eichler, ATCA
The original musical House on Watch Hill is running now through May 31, 2026, at Ensemble Theatre Cincinnati. This coming-of-age contemporary musical is both a love letter to growing up in the 1980s–in Cincinnati–and a reflection on what it means to find your people while discovering who you are.
Written by Richard Oberacker and Robert Taylor, the team behind the Tony-nominated Bandstand, the show draws from autobiographical inspiration to tell the story of creative outsiders chasing passion, artistry, and belonging.
The Story
A group of Cincinnati junior high schoolers obsessed with theatre, music, horror, and practical effects discover that their favorite local haunted castle designer is leaving to become a Disney Imagineer. Determined to follow in his footsteps, they decide they can become the next great haunted attraction designers themselves, building an elaborate haunted house in a neighbor’s basement and backyard. They have a year to plan and execute. Along the way, they discover one another’s talents, insecurities, ambitions, and fears.
The adults surrounding them are equally important. Some encourage. Others permit. Some quietly fail to notice what these kids are carrying emotionally.
The musical understands the tension many “weird kids” experience between embracing the passions that make them unique and sanding down those rough edges to appear “normal.” It also emphasizes the importance of hearing someone say “I believe in you.”
Performances
Across the board, the ensemble is deeply committed and musically strong. Sara Mackie provides much of the show’s emotional grounding, shifting fluidly among several adult characters while bringing warmth and compassion to each. Jason Collins likewise moves among multiple adult roles while also serving as a reflection of Patrick’s future self.
Adrian Graff leads the show as young Patrick, the ringleader of the aspiring haunted house creators. Graff captures Patrick’s yearning curiosity and restless creative energy, particularly as the character begins to understand both his ambitions and his identity.
Jordyn Amani Jones brings confidence and warmth to Joy, the new girl whose artistic instincts help shape the group’s creations. In “Draw a Line,” Jones shows off her powerful voice and creates a character who earns her place within the group through talent and determination. She also is kind to the next “new kid” in a lovely scene. Julianne Ferreira de Silva’s Jennifer, the goth member of the team, balances dry wit with emotional openness. “Good to Be Seen,” her duet with Jones, becomes one of the evening’s highlights.
Wesley Akio Geary brings infectious enthusiasm to Paul, whose fascination with lighting, video, and sound reflects the kind of technical curiosity that often fuels young artists. Morgan Lindell gives Kristin an uneasy vulnerability beneath her polished exterior. Gavin Ponosky’s Tim hints at deeper loneliness and neglect than the script fully explores. He simply explodes with joy when he gets a compliment for his work.
Tommy Sanders delivers one of the production’s most compelling performances as Jason, Patrick’s troubled first boyfriend. Sanders gives Jason both charisma and volatility, embodying the allure and danger of a teenager living with too much freedom, evident in the mesmerizing “I’m an Idol.”The relationship between Patrick and Jason becomes one of the show’s strongest emotional threads. Sanders’ second act aerial work is also amazing, showing grace and power.
The Music and Design
Despite its 1980s setting, the score does not rely heavily on New Wave imitations. Instead, Oberacker’s music leans toward contemporary musical theatre storytelling, favoring emotionally driven ballads. In Act One, there’s a “retro rhythm” in “Midnight Picture Show.” “Don’t” is also strong. “A Cultural Institution” is an audience favorite, with some synth, as the kids explore Spencer Gifts and nostalgia brings smiles to the crowd. “It’s Complicated,” sung with enormous heart by Sanders and Mackie, and Mackie’s “It’s Growing Up” are among the production’s strongest musical moments–and the one song which reverberated in my head after the show. There’s also a playful nod to Bach’s Toccata and Fugue in D minor, establishing the classic haunted house atmosphere and sense of fun.
Brian C. Mehring’s scenic and lighting design work effectively together, using neon bars and glowing circles (vaguely resembling eyes) across multiple levels to frame the action while keeping the visible band integrated into the storytelling. Costumes by Cat Schmeal-Swope evoke the era without overwhelming it, while Shannon Rae Lutz’s props add texture and humor, from creepy dolls to unmistakably Spencer Gift store details.
Flashes of Cirque du Soleil-inspired spectacle during the second act create striking visual moments that leave the audience wanting more–and impressed with the caliber of the teens’ accomplishment.
Strong Compassion Evident
Co-directed by Dee Anne Bryll and D. Lynn Meyers, the production makes strong use of Ensemble Theatre’s space, establishing believable relationships and supporting the compelling material. Yet the show also still feels like a musical in evolution.
For example, several supporting characters hint at emotional complexity the script only partially explores. (What did happen to Patrick’s brother?) Because the ensemble is so strong, the audience wants to know more about these friendships, tensions, and motivations. Some scenes and characters feel essential, while others still feel like remnants of autobiography that may not yet fully serve the central dramatic arc.
The second act is visually dynamic, particularly as the consequences of trauma and mental health struggles become unavoidable. One of the evening’s strongest moments comes when Mackie’s character reminds the audience that forgiveness and growth are often inseparable parts of becoming an adult. The show’s compassion for young people–especially young people struggling silently–resonates deeply.
Overall
See this show if you are, were, or are raising one of the “weird little kids.”
These are the kids who spent (or spend) weekends obsessed with The Rocky Horror Picture Show, experimenting with prosthetic makeup, video projects or obscure passions. Many weird kids raised in the 80’s are still working artists, filmmakers, scientists, performers, and fiercely supportive of creative endeavors.
House on Watch Hill understands how vital safe sanctuaries can be for young people trying to become themselves. Whether it is a group of friends creating their own projects, bonded by music or theatre–or horror–or transformative programs such as the Governor’s School for the Arts in Kentucky, now at NKU. Giving space and support to kids who think outside the box remains essential to building a strong society and culture.
I hope this show has productions outside of Cincinnati, as even transplants can giggle at the 1980s Easter eggs. It made me think deeply about high school friends lost too soon, and wonder if they would still be here if adults behaved differently.
Tickets to House on Watch Hill by Richard Oberacker and Robert Taylor are available HERE at Ensemble Box Office. The show runs May 14-31, 2026.
Run time: 2 hrs, 15 mins, including one intermission
