There is no doubt about it, 2:22 A Ghost Story is a global phenomenon. Since its debut in the West End in 2021, the production has had seven seasons in London, a record-breaking UK and Ireland tour and has inspired over thirty productions across the globe. It’s safe to say that the play penned by Danny Robins has enjoyed huge success and is still as popular as ever.

Judging by the gasps at the climatic twist in the tale, there are still people who are brand new to experiencing the plot of 2:22 for the first time. Even for someone like me, who has seen it before, the play still carries huge weight and the twist in the story still hits hard. The action sees a couple hosting their friends at their new home, with renovations still in full flow. What the play does so well is bring together four people who are clearly from such different places in their lives, careers, social backgrounds and more, and throws them together in an evening which tears their nerves to threads. The premise is simple; having just recently moved in with their newborn daughter, Jenny has started hearing noises through the baby monitor, whilst her husband, Sam has been travelling. The key point is that these footsteps always happen at the same time, 2:22am.

What follows is the pursuit of the truth and what is really going on in the baby’s room. The dynamic of the two couples is well played and scripted here, with each character’s beliefs and backgrounds bouncing off or colliding with another character. Sam is a scientist and therefore, complete disbeliever of his wife, chasing away her theories with flawless logic. Lauren seems more inclined to believe Jenny but is still sceptical, whereas her partner Ben is a firm believer. The clash of personalities here is excellent and very believable. These people come from all walks of life, and this is clearly executed throughout the script.

Sound and scenery add to the tensions of the piece. The stage remains fairly unchanged throughout, but the passage of time is marked by sound, blackouts and the stage proscenium being lit in stark red lights. This is highly effective, along with the dramatic sound effects, in ramping up the tension exponentially and the crowd often descended into nervous, anxious giggles in each of these passages of time. The effects on stage are also very good; not overdone, but when they are delivered, they’re very believable. It’s the lack of ghostly happenings rather than them being overwhelming and constant which makes the tale palatable and draws the audience in even more.

A small cast, but one that delivers in spades. Grant Kilburn is excellent as Ben, delivering much needed comedic relief which helps ease both the ghostly and social tensions. He is partnered with Natalie Casey’s Lauren, an eccentric, zealous peer of Sam. Casey owns the stage with gusto and swerves between comedy and drama with ease. Shvorne Marks is hugely capable in the role of Jenny. Her fear is palpable, and we are instantly on side with her and want to believe her story. She is the perfect counterbalance to Sam, portrayed by James Bye. Their relationship is very well delivered by the pair; their love is evident, but the marriage is scarred by their differences and inability to agree on this divisive topic.

I was very impressed with the play’s rewatch factor, as I have seen this before and obviously knew the twist in the story. It still had massive impact for me though; I had huge enjoyment spotting the clues cleverly interlaced throughout the script! If you’re up for a night of jumping out of your theatre seat, this is definitely the one for you! But it’s not just played for scares; it’s a well-constructed play full of great comedy, social commentary, fractured relationships and, of course, the devastating climatic ending which will leave you open mouthed. If you do manage to grab a ticket, just remember, ‘Shh! Please don’t tell!’