Danny Robin’s hit horror play starts its next season in the West End, now running at the Apollo Theatre until the end of summer. Guillermo Nazara returns to the production to share his thoughts on its newly arrived cast, to reveal if the show continues to have a ghost of a chance.
Double, double toil and trouble… Over 400 years have passed since the ominous stanza was coined for Macb— That was close! But no matter how rational our understanding of the world may have turned, we are still fascinated by anything having to do with the supernatural. In a country plagued with legends of ghosts and haunted places, it doesn’t come as a surprise that art imitates life – particularly in the core of mainstream theatre. For decades, The Woman In Black held the proud title of West End’s horror icon, but its sad closure only a few months ago has paved the way for new candidates. And probably, for a pretty strong competitor.
As of now, it doesn’t seem to be curtains for 2:22 – A Ghost Story. I should know – it’s the third time I’m reviewing the show and there’s a high chance it will be haunting me again in only a few months. It’s often said that there is no formula for a show to work. But the recipe for this one is quite simple – yet, effective. It’s basically an afterlife whodunnit. A bunch of friends joining for dinner, a newly bought house… And a spectral presence to join the party. Is it real? Is it just superstition? Who’s right and who’s wrong? And most importantly, how much of a twist will we get?
Danny Robins’s script never fails to entertain. It’s not been even a year since I came to see it for the first time, and though aware of everything that’s going to happen next, the full story still grasps my interest from start to finish. Moving effortlessly through a satisfactory evolution of plot and characters, the text is founded on more layers than a mere jumpscare plotline about fiendish apparitions. Much in the style of Stephen King’s narratives, several universal themes are explored in a rather decent manner: the questioning of personal beliefs, the toxicity of some love relationships, domestic abuse and the need to find the true essence of one self. It is precisely this down-to-earth approach that makes this piece so enticing.
Directed by Matthew Dunster, the production’s transferring to the Apollo Theatre from its next door neighbour has also been bewitched with the arrival of a new troupe – on this occasion, giving a surprisingly whole different take on the material. Same lines, same blocking – yet for some reason, it almost seems as if you were watching another show. The reason why may reside in the fact that the dialogue has been treated in a more comical way.
By no means is it blemishing the overall enjoyment of the performance. Actually, it may be the right step for a longer stay on the billboard. But we shouldn’t forget that we are talking about horror – mild, but horror nonetheless. Some moments inevitably require higher tension in order to maintain (or even generate) the chills we’re expecting to have. Sadly, though my arm got sore from my plus-one grabbing me every time he got frightened, part of this tension has been slightly diluted by trying to make the whole thing funnier.
This is, however, no obstacle to praise the company’s renditions. The highest mention goes to Jaime Winstone as Jenny, bringing a completely different but much refreshing energy to the role – resulting in much of a fully transformed personality, which at the same endows the character with a stronger identity. On the other hand, Ricky Champ excels as Ben, providing the part with a more sympathetic, approachable nature – masquerading his darker, deeper background with some apparent naivety, thanks to his right balanced comicality.
There’s no doubt 2:22 has been one of the major talks of the town when it comes to new theatre – and you can’t blame anyone but the audiences for that. It’s become a fave – and you can’t blame for that. It has all the ingredients for a commercial success, but also a few spices to tempt a more selective public. Either if you guess the ending or not (out of my three visits, it’s been two of my guests that have), the overall show is a beguiling ride for those looking for some amusing (and sporadically reflective) content. It may deal with the dead, but it still has much of a life to live.
All pictures credit to Helen Murray.
2:22 – A Ghost Story plays at London’s Apollo Theatre from Tuesday to Sunday. Tickets are available on the following link.