Synopsis:
When Come Knocking came to Los Angeles, the interactive theater production that took over six floors of an abandoned building was met with raves, lines for tickets, and reviews calling it the “must-see experience of a generation.” But after dozens of people were killed and hundreds injured on a bloody night of chaos during the show’s run, the nation was captured by one inescapable question: How could this happen?
As the dust settles, investigative reporter Adam Jakes is tasked with uncovering the truth behind the massacre. Through a series of gripping interviews with survivors, cast members, and witnesses, Jakes pieces together the chilling reality behind what was supposed to be the ultimate theatrical experience.
Review:
I was, and really continue to be, an insufferable theatre kid, and now that I’m an insufferable horror reader as well, when I was asked if I cared to read “Come Knocking,” which is essentially about the theatre experience from hell, I practically bit the publisher’s hand off. Thank you Skyhorse, I hope it grows back. With horrors that rival flying popcorn buckets, the price of a bag of Jelly Tots on the West End, and even the general public singing along to “Defying Gravity,” (seriously, don’t do that by the way) “Come Knocking,” was simmering with tension and begging to be read. An epistolary novel, that like Bockoven’s debut “Fantasticland,” (which I am determined to read soon) is told entirely through interviews, “Come Knocking,” is a story of escalation, tragedy and interactive theatre that comments on vanity, blame, and just how dangerous inaction can be. Thanks again Skyhorse for the preview (if you will) “Come Knocking,” opens July 1st, and you’ll want a front row seat.
As opposed to any one character, we follow “Come Knocking,” an interactive theatre experience that spans six floors. It’s a raging success in New York, until it’s not, and then in Los Angeles… until it’s not. Known for its jaw-dropping technical effects, unparallelled set design, and (often full-frontal) choreo, the show is controversial for various reasons. The rules are simple, keep your mask on, don’t touch the actors and they won’t touch you… beyond that, theatrical anarchy. The show runs in its entirety every hour, with the audience invited to stay for three. The story, should you choose to follow it, is about a knight who makes his way through a Canterbury Tales/ Dante’s Inferno fever dream, although often members of the audience get side-tracked, occasionally dragged into “one-on-ones.” It’s divisive, and breeds two kinds of responses. Some “Get it,” and many are determined to experience it in its entirety, returning time and time again, taking different routes, watching and rewatching. Slightly more troublesome though are the cult-adjacent “Who’s There,” group that eventually crop up. Those who, for whatever reason, be it religious or personal, are intent on closing the curtain for good.
Adam Jakes is an investigative journalist who, in lieu of the raging success of his work on “Fantasticland,” (a fun little detail huh?) is looking into the carnage of “Come Knocking.” The book is made up of his interviews with audience members, stage crew, security, and the cast. With Jakes’ input limited to an author’s note and epilogue, and such a massive cast of characters, some appear twice, most just once, “Come Knocking,” itself becomes the de-facto protagonist. With the perspective of so many involved in breathing life into the show, you can’t help but appreciate how it functions (smoothly, at first) as an organism. Whether you think you’d “get it,” or not, you have to appreciate the production value. I digress. With each interview spanning what, 10-15 pages, there’s little room for character ARCs, and beyond fleetingly feeling pity or anger, we don’t get attached or form bonds. The way that it’s formatted means that you won’t weep for anyone, and you’re not meant to. Fine by me, as long as I’m gripped, I’m good, and “Come Knocking,” has white knuckles, so tight was its hold on me.
From Adam Jakes’ authors note, we know that “Come Knocking,” goes terribly wrong. Furthermore we know that things go terribly wrong on March 14th. It’s only a few pages later we’re able to piece together the parties involved too. There’s not a whole bunch of mystery to this book, yet it’s an absolute masterclass in building suspense and tension. It’s not a who-dunnit, but a we-know-exactly-who-did-it-and-when-they-did-it-and-why-and-now-we’re-gonna… watch-them-do-it. See, I was stressed from start to finish, not because I didn’t know what was going to happen next, but because I kind of did. I was forced to read about emotions running and tensions rising high, to the altitude that I knew from the get-go that they would, and no matter how firmly I planted my feet on the ground, rise they did.
A searing reminder that doing nothing is still a choice, “Come Knocking,” condemns being a bystander, yet holds its audience captive and makes voyeurs of us all. I’m going to find time for “Fantasicland,” very soon, and I’m hoping that I’m in for more of the same, but for now, “Come Knocking,” is not quite like anything I’ve ever read before. The scariest bit of theatre horror since James Cordon in “Cats,” “Come Knocking,” is by no means a family-friendly show… I demand an encore.
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