Being informed that a show you’re about to see is unsuitable for under 13s may just be one of the worst things one could ever hear. I mean Signs was bloody horrific. But not I. Oh no. Unlike my loser friends I just adore being terrified out of my wits and with the promise of bloody violence on a poster in the theatre bar, I practically spluttered out my gin and tonic with ecstatic glee. I twerk in the face of danger.

Jack Thorne’s 2013 adaptation of Let the Right One In deals with the drama of adolescence, of finding solace in those that are different and love in the face of unorthodoxy. Whilst John Tiffany’s production didn’t particularly startle you into oblivion with its blood and gore, Christine Jones’s bleak landscape showcased every scrape and ripped vein beautifully. Just in time for Halloween, Jack Bowman has brought Thorne’s script to the stage once again. I don’t think anyone in their right mind should or would try and top what has been. If it’s not broken – don’t fix it. At the same time, if you’re a fan and an able creative, why not follow on from such a winner?

The events originally taking place in Sweden in both John Ajvide Lindquist’s novel and the 2008 film have now moved to an isolated, undisclosed English town. Oskar (Louis Krommenhoek) is tormented at school and lives with his single mother who drinks too much rose wine at tea-time. A string of murders and the arrival of neighbour Eli (Ruth Newberry-Payton) changes both the community and Oskar’s lives forever.

Oskar and Eli are, funnily enough central to the action of Let the Right One In. Krommenhoek and Newberry-Payton’s time on stage is plentiful and whilst they (sort of) play children, their scenes become increasingly but quietly intense. Eli is a difficult character to portray. She looks like a young girl, has some of the same traits, wants and needs as a teenager but, as her friend persistently but endearingly moans, she occasionally acts like an “old person”.  In Tiffany’s production, she was imagined as detached, warming gradually through the story and likewise with the 2008 film. Here Newton-Payton has given us a much more predictable and ‘normal’ personality that matches her young aesthetic. Initially she is confused by Oskar’s shy but boyish ways, having been closed off from other human beings, bar her ‘minder’ for who knows how long, but as the story graduates we see her competing with Oskar in the immaturity stakes (see sweet shop, monkey scene). I perhaps expected/hoped the character would make me feel more unsettled but ultimately I very much like what Newberry-Payton has done with Eli. A scene in which Oskar first hugs her is brilliant, highlighting especially the chemistry between the two.

Krommenhoek actually looks about as old as his character is. He is awkward and frustrated, shuffling his feet and at times achingly misunderstood. Their relationship teeters on the sexual, but engulfs us in his desire to comfort and be comforted. Both leads give an occasionally flawed production many special moments.

Throughout, the space is used wisely. Personally, the set doesn’t make the transition from prop pieces to real life, and some late scene changes don’t help matters, but despite this and with modest funds I’m sure, it has all been put together intelligently.

It’s very difficult not to compare Bowman’s production with Tiffany’s, but this is really very good and just continues to get better. Some of the performances are not up to scratch and feel unplanned, but generally and especially with the fantastic work of Krommenhoek and Newberry-Payton, this is definitely worth seeing.

Let the Right One In is playing at the Lost Theatre until 31 October. For more information and tickets, see Lost Theatre website.