There is something uniquely unsettling about a story that unfolds in a space we think we understand. A room. A house. A door that should remain closed. The Eaves was born out of a fascination with that quiet, creeping dread—the kind that doesn’t rely on what you see, but on what you begin to believe might be there.

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In developing this piece, I found myself continually drawn to the theatrical language of some of the most effective ghost stories ever staged—works like The Woman in Black, 2:22: A Ghost Story, and Ghost Stories. These plays share a commitment to atmosphere over spectacle, tension over explanation, and the power of suggestion over certainty. They remind us that theatre, at its best, doesn’t need to show you the ghost—it simply needs to make you feel like it’s already standing behind you.

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At The Nocturne, we are often known for our large-scale musical productions—worlds filled with sound, movement, and visual intensity. But there is an equally thrilling challenge in stripping everything back. The Eaves was developed under tight constraints—limited time, minimal resources, and an intentionally intimate scope. Rather than seeing those limitations as obstacles, we embraced them as creative fuel. How do you create fear with almost nothing? How do you hold an audience in silence? How do you make a single knock feel like a threat?

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This production represents an ongoing commitment to expanding the kinds of stories we tell at The Nocturne. Alongside our musicals, we are excited to explore more plays like this—projects that are nimble, immediate, and deeply actor-driven. There is a rawness to this kind of work that is both terrifying and exhilarating, and it opens the door to new voices, new forms, and new ways of connecting with an audience.

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Of course, a process like this demands a great deal of trust and flexibility. This script has continued to evolve throughout rehearsals, and I am endlessly grateful to our cast and crew for their patience, their openness, and their willingness to take risks. They have embraced uncertainty, adapted to change, and committed fully to the strange and shifting world of this piece.

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I would also like to extend a special thank you to those who participated in our staged reading and offered invaluable insight during the development process: Lucas Coleman, Melissa Meyer, Craig Meyer, Tanya Cyr, Andy Meyers, Seth Logan, Melissa Heckscher, and Alex Sheldon. Your feedback helped shape this play in ways that are deeply felt throughout this production.

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Enjoy the show!

Kayla Fast (Lorraine) is thrilled to return to the Nocturne Theatre where she was last seen as Sally Bowles in Cabaret. Next, you can catch her in Frankenstein: Resurrection this fall. Many thanks to her friends and family for always sitting in the front row. @klafst ​

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Kelly Krippendorf (The Investigator/Harper/Doctor) is excited to be back performing at the Nocturne. Prior to making LA her home, she graduated from Point Park University with an Acting Major and Musical Theatre minor. Recent Credits: Lucy in DRACULA (Nocturne), Ariel in THE LITTLE MERMAID, Belle in BEAUTY & THE BEAST, Wendla in SPRING AWAKENING, Cinderella in INTO THE WOODS, and Kristine in A CHORUS LINE. Commercial Credits: Roundtable Pizza, Budweiser, Oikos Yogurt, and more. Kelly’s favorite project she has done in LA is ABC’s HOME FOR THE HOLIDAYS, which gives war veterans the chance to film and debut their work online. Kelly would like to thank her family and friends for always supporting her crazy dreams.

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Hannah Paige (Emily/Young Lorraine) is a fifth-grader from Manhattan Beach who is so excited to be in her first horror show! Previous roles have included Tiny Tim in MADAM SCROOGE (here at The Nocturne), The Narrator in INTO THE WOODS (Wisteria Theater), Les in NEWSIES (MBCC Theater), and Oliver in OLIVER JR.  She thinks The Nocturne Theatre really IS haunted... and hopes the ghosts like the show! Follow her on Instagram @hannah.paige.actor​

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Dave Beaudrie (The Shadow/Helen) has appeared in over 100 plays, television shows, films and interactive experiences. Theater credits include Antonio in “The Merchant of Venice,” Lombard in “Ten Little Indians,” and Adhemar in “Let’s Get a Divorce.” He also had a lead role in “Just for the Fun of It,” an 80 show regional tour with the Timestep Players Children’s Theatre of Chicago that encouraged book-reading to kids. In TV/Film, he has had credited roles in ‘Quiz Lady” for Disney, “Gaslit” for Starz and “Casual” for Hulu. He has also appeared in multiple seasons of House of Spirits/Haunted Soiree.

Writer, Director, Producer: Justin Meyer

Producer: Melissa Meyer

Costume Designer: Tanya Cyr

Original Orchestrations: Kelby Thwaits

Scenic Design: Jay Michael Roberts

Scenic Builders: Jay Michael Roberts, Andy Meyers

Sound & Lighting Designer: Kelby Thwaits

Sound & Lighting Engineer: Julia Vollstedt

Nocturne House Managers: Jill Golden, Sam Hashim, Michaela Molidor-Sword