Review of ‘Ghost Stories’: “Jump scare-based horror show is not too frightful but neither terrifying”

Following an extensive tour across the UK, the production returns to the London scene with its spine-chilling array of paranormal stories. Guillermo Nazara shares his views on the show to let us know if this spirited voyage into the unknown is a hell of an experience.

The clock marks 00:47 as I begin to pen the first words of this review. One may say I’m trying to get the right mood to inspire my writing. The plan, so far, seems to be working. A flickering candle shines through the otherwise pitch-black darkness that inundates my flat — its quivering shades dancing on the walls as the shadows come to life. Not a sound except for the anxious clinking of my typing and the rare midnight bustle coming from the street.

A sudden banging noise rises out of nowhere — steady and rhythmical like a funeral march. As my pulse accelerates, a distant moan emerges — guttural, agonising, desperately pleading for God’s mercy. It is then that I realise that my upstairs neighbour has actually found his own version of heaven — and that this so-called blood-freezing show titled Ghost Stories doesn’t stand too far away from the style of my opening teaser.

If you’re concerned this may haunt you for the rest of your life, fear not. If you survived Disney’s latest live-action remakes and their nightmare-inducing CGI (you know which one I’m talking about), then nothing can shock you anymore. In all fairness, Ghost Stories is unlikely to give you such a horrible time as a viewer — on the whole, it’s entertaining, able to entice its audience, and knows how to handle the tension effectively enough. But you may find it’s not the horrifying experience you were expecting either.

Structured as a compendium of real-life anecdotes, the script uses a parapsychologist’s conference as its framing device. A not-so-startling blackout, followed by a slide presentation of reported supernatural sightings, gives way to the lecturer’s talk. A flamboyant grey-haired researcher rushes to his vaudevillian-looking stage, eager to educate his attendees on the hair-raising evidence of the afterlife he’s gathered over his long-standing career — and also its many hoaxes.

It’s not the most original premise. Maybe, using a middle-aged spooks expert is a new legal requirement for anyone wanting to write for this genre. In any case, there’s still a solid reason why this role always returns: it just works. The skepticism some guests might come with is a barrier that any storyteller must overcome. And the only way to do it is by giving them a character they can trust. Certainly, somebody with a rational mind and the willingness to debunk any fraud will help lure them into the narrative’s universe.

Yet, as much as Jeremy Dyson and Andy Nyman’s text works to an adequate extent, Jonathan Guy Lewis’s performance lacks the organicness and poise it calls for. His approach is overly camp and methodical — sometimes sounding inappropriately comical and generally devoid of the eeriness he should emanate. He can cry on cue. Or have a seizure if asked to. However, the absence of nuance and spontaneity shortens the credibility of his rendition, which often comes across as too safe and, overall, mechanical.

The rest of the cast does a much better job in keeping the show’s uncanniness flowing. Flaunting a more realistic attitude in their portrayals, their ability to convey the uneasiness of every recount and make the audience participants in that experience is quite refreshing. Of course, the production’s clever staging (admittedly, its best feature) is a strong contributor to that achievement. Beyond some rather impressive illusions, the use of minimal set pieces surrounded by a sea of darkness is a magnificent technique — perpetuating the unsettling undertone that vividly keeps attendees on edge for the most part.

Nonetheless, the narration’s appeal starts to wither as the piece progresses. If its first installment was marvelously executed and led to the most impactful cliff-hanger, all its successors fail to live up to that same standard. Essentially, it’s just a repetition of similar jump scares. Add that to the other plots’ weak substance, and the show can’t help but start losing part of its grip — with some effects also coming off as slightly silly and cheap.

Before and after the performance, we are requested not to divulge the secrets of the play. Frankly, I wouldn’t worry too much about that. There’s nothing that surprising in it. The twist in the end, even if spoiled, wouldn’t hurt the production’s engagement, but not necessarily for the right reasons. It may not be that predictable (to some), but it’s overused anyhow — and it doesn’t provide any additional value to the recount.

For those content with a Thorpe-Park-witch-train lookalike experience, Ghost Stories will probably supply them with just what they’re looking for: a few jaw-dropping tricks, loads of easy triggers for the fainthearted, and an uncomplicated tale of the paranormal with no greater purpose than letting audiences pass the time. Yet, any fans of more elaborate horror are likely to find its scarce innovativeness unfulfilling. It’s a legit alternative for anyone’s amusement, but once seen, you will hardly have a motive to come back. Regardless of its theming, its capabilities don’t go any further beyond.

All pictures credit to Hugo Glendinning.

Ghost Stories plays at London’s Peacock Theatre until 8 November. Tickets are available on the following link.

By Guillermo Nazara