Technically, “The Skriker” could be classified as a fairytale.

That’s only if we base our definition of fairytale as a story that involves a fairy. Because if you were expecting this staged play to have knights in shining armor, a storybook princess and a happy ending, then “The Skriker” will leave you wanting more…much more.

The play takes place in present-day London, but believe me when I say this, this isn’t your postcard’s London. “The Skriker” paints its urban landscape with as much gloom and grunge as possible. In this play, living in the city is neither glamorous nor desired; instead, the city acts like a prison, housing the lost souls that walk its streets.

Beginning the play with a well-worded, but often confusing, monologue is no other than “The Skriker” herself, Aleisha Force. The monologue, which borrows heavily from almost every cliché ever muttered, is just as wordy as it is genius. Force formidably delivers the monologue with the precision needed to get through tough lines that any seasoned actor would find difficult. Her performance is so good in fact, that one does not even have to pay attention to the words of the monologue, the looks on Force’s face alone tell a story in its self.

The bulk of “The Skriker,” follows the lives of sisters Lily (Gracyn Mix) and Josie (Rachel Werline). Josie, who we meet while she is staying at a mental institution, is the first character to have contact with “The Skriker.” After wishing the evil, but desperate, fairy’s temptation on her sister, “The Skriker” begins to stalk pregnant Lily.

In Caryl Churchil’s twisted logic, “The Skriker” thrives off infants, and will do anything in her power to lure one into her dark underworld. “The Skriker” carries her conquest of evil by shape shifting into different characters, all which stalk Lily and tempt her with wishes and gifts. From a homeless woman, to a small-child, even to a stalker-esque boyfriend, “The Skriker” does everything in her power to woo Lily.

Perhaps the play’s darkest moment comes when Josie accepts an invitation into the haunted world of “The Skriker.” Costume designer, Samantha J. Miller’s, vision was spot on, making the world of “The Skriker” both disturbing and intriguing. With a bone clad crown, Force strutted around the stage effortlessly delivering powerful lines with both ferocity and finesse.

What really seperates “The Skriker” from most plays are the intertwining yet completely different sub-stories that happen around the main characters.

There is a rather interersting story involving a man who is in desperate attempts to catch his very own fairy. At the end of the play, you see the same man in a wheelchair, feeble and defeated.

The compelling supporting cast only makes “The Skriker” a better play to watch. With just Lily and Josie’s storyline alone, the play would still be a great piece of work, but with stories like the Lost Girl, and the constantly dancing Passerby, “The Skriker” has layers of narrative just waiting to be folded back.

There are many messages that “The Skriker” conveys. With both of its main characters dealing with personal problems after chilidbirth (later in the play you learn Josie killed her ten-day old and baked her in a pie), Churchill’s reasons for “The Skriker” are both sensitive and profound.

With acting so strong and a story so captivating, “The Skriker” is easily one of the best Meadow’s productions this year. While the context is rather surreal, “The Skriker” makes you question the logic around you and allows its viewers to have second thoughts on reality.