Jane Austen’s infamous rogue will take centre stage in the West End

as Adrian Lukis performs his acclaimed solo show

Being Mr Wickham
at the Garrick Theatre on Sunday 31 May 2026

Well known for playing Mr Wickham in the BBC’s Pride and Prejudice adaptation on screen, Adrian Lukis will reprise the role in the West End when his one-man play Being Mr Wickham plays the Garrick Theatre on Sunday 31 May 2026. 

Written and performed by Adrian Lukis, and directed by Guy Unsworth, Being Mr Wickham offers a witty and revealing exploration of one of Jane Austen’s most charmingly roguish gentlemen.

Join Pride and Prejudice’s George Wickham on the eve of his sixtieth birthday to lift the sheets on what exactly happened thirty years on from where we left him and discover his own version of some very famous literary events.

“Mr. Wickham is blessed with such happy manners as may ensure his making friends – whether he may be equally capable of retaining them is less certain”. Mr Wickham is ready to set the record straight. What really happened with Darcy? What did he feel about Lizzie? What happened at Waterloo? Not to mention Byron…

Produced by Original Theatre and The Production Garden, Being Mr Wickham’s West End premiere follows sold out runs at Jermyn Street Theatre, New York and Chichester’s Minerva Theatre, and tour dates around the country.

Being Mr Wickham is performed and written by Adrian Lukis and directed by Guy Unsworth with design by Libby Watson, lighting design by Johanna Town and sound design by Max Pappenheim. 

Adrian Lukis said: “Mr Wickham is back in the West End, among the theatres, clubs and card tables of his youth. Here, at the Garrick Theatre, on the eve of his 60th birthday, Mr Wickham sets us straight: growing up with Darcy, surviving an horrific boarding school, Meryton and the Bennet girls, marriage to Lydia and much, much more! Spend an hour, if you dare, with Austen’s most persuasive charmer. Whether you believe him or not, is entirely up to you!”

To book for Being Mr Wickham at the Garrick Theatre on Sunday 31 May 2026, visit: https://nimaxtheatres.com/shows/being-mr-wickham/

Being Mr Wickham is also available at Original Online (https://originaltheatre.com/). This replay of the 2021 livestreamed production with the stunning backdrop of Theatre Royal Bury St Edmunds is featured in a unique reversed staging that was only possible at the time. 

-LISTINGS- 

Show: Being Mr Wickham

Venue: Garrick Theatre, 2 Charing Cross Rd, London WC2H 0HH

Dates: Sunday 31 May 2026 at 7.30pm

Running Time: 65 minutes (no interval)

Ticket Prices:  £29.50, £47.50, £65.00 (inclusive of £1.50 levy); £35 Group Rate available

Box Office: https://nimaxtheatres.com/shows/being-mr-wickham/; boxoffice@nimaxtheatres.com / Phone +44 (0)330 333 4815

Age Guidance: 10+
Content Warnings: none

Access information: thegarricktheatre.co.uk/your-visit

Category: theatre / drama 

WITZEND PRODUCTIONS AND CHARING CROSS THEATRE PRODUCTIONS PRESENT

WORLD PREMIERE MUSICAL

DARK OF THE MOON

TO OPEN AT CHARING CROSS THEATRE

Book by Jonathan Prince

 Music and Lyrics by Lindy Robbins, Dave Bassett & Steve Robson

 Based on THE play by Howard D Richardson and William Berney

18 MAY – 8 August

TICKETS AVAILABLE – www.charingcrosstheatre.co.uk

[6 March 2026] The world premiere of new musical Dark of the Moon, based on the classic 1941 play by Howard D Richardson and William Berney, will run at Charing Cross Theatre from Monday 18 May to Saturday 8 August 2026.

Directed by Georgie Rankcom (The Frogs; Anyone Can Whistle; How to Succeed In Business Without Really Trying; Before After – Southwark Playhouse), the musical features a book by Emmy® Award nominee Jonathan Prince (American Dreams) and music and lyrics by Grammy® Award-winning and multi-platinum songwriters Lindy Robbins (Demi Lovato’s “Skyscraper”), Dave Bassett (Elle King’s “Ex’s and Oh’s”) and Steve Robson (Rascal Flatts’ “What Hurts the Most”).

DARK OF THE MOON is a supernatural tale of powerful witchcraft, small-town prejudices and the power of love. This timeless, spellbinding new musical portrays the clash of two dynamically polarized worlds—a charming rural Appalachian town and the mystical world of witches and warlocks from the Smoky Mountains that loom high above. The show’s unique musical score reflects those conflicting worlds using a thrilling blend of country/bluegrass and rock. Barbara Allen – a human girl and John – a curious witch-boy – find each other and defy their communities to build a life together. But will love conquer all – or will they be haunted by a deal that was made by the dark of the moon?

Originally written by Howard Richardson and William Berney while students at the University of Iowa in the early 1940s, the play Dark of the Moon is loosely inspired by the traditional Scottish ballad Barbara Allen. Following its original Broadway production by the Shubert Organization, the play has been widely produced internationally and has attracted notable performers and directors including Paul Newman, George C. Scott, Cicely Tyson and James Earl Jones. Sir Peter Brook directed a London production at the Ambassador Theatre in 1949.

The story has recently re-entered the cultural conversation through references in the Stranger Things stage play The First Shadow and the final season of the hit Netflix series.

Georgie Rankcom said, “Dark of the Moon has captivated audiences since the 1940s, and it’s exciting to see the story finding new resonance today — most recently through its appearance in the world of Stranger Things. This musical adaptation allows us to rediscover the story for a new generation.”

Additional members of the creative team are choreographer Jane McMurtrie, musical supervisor Brad Haak, musical director Matt Herbert, orchestrator Dillon Kondor, casting director Peter Noden, production designer Libby Todd, lighting designer Jonathan Chan and sound designer Andrew Johnson.

The show is produced by WitzEnd Productions LLC (Michael Jackowitz and Jeffrey Grove), and Steven M Levy for Charing Cross Theatre Productions Limited and is general managed by Steven M. Levy for Charing Cross Theatre Productions Limited. Dark of the Moon is presented by special arrangement with the Richardson/Yale Property Trust, Elliot S. Blair, administrator.

Full casting and creative team to be announced in due course. 

BROADWAY’S ORIGINAL ‘AARON BURR’

LESLIE ODOM, JR.

TO MAKE HIS WEST END DEBUT

REPRISING HIS

TONY AND GRAMMY AWARD WINNING ROLE

IN THE LONDON PRODUCTION  

OF THE MULTI-AWARD WINNING
HAMILTON

AT THE VICTORIA PALACE THEATRE

FOR A STRICTLY LIMITED SEASON
FROM 3 JULY – 5 SEPTEMBER 2026 ONLY

SIGN UP NOW FOR PRIORITY ON SALE

Jeffrey Seller and Cameron Mackintosh, producers of the West End production of Lin-Manuel Miranda’s HAMILTON, are delighted to announce that Tony and Grammy Award-winner and Broadway’s original ‘Aaron Burr’, Leslie Odom, Jr. will reprise the role that he originated in New York, for a strictly limited nine week season in the West End production at the Victoria Palace Theatre from 3 July – 5 September 2026 only.

Sign up now for priority booking to see Leslie Odom, Jr. in HAMILTON by visiting www.hamiltonmusical.com/london. The sign up window will close at 12.00noon on Wednesday 11 March 2026. A priority booking link will be emailed to those who have signed up and priority booking will open at 11.00am on Thursday 12 March 2026. Public booking will open at 11.00am on Friday 13 March 2026.

Cameron Mackintosh said today “When Jeffrey Seller first invited me to see Hamilton during its New York try-out at the Public Theater over 10 years ago, I was knocked out by Leslie Odom, Jr.’s electric performance as Aaron Burr opposite Lin-Manuel’s unforgettably charismatic Alexander Hamilton. So, I’m absolutely thrilled that London will now be able to share the experience of Leslie for a short season, joining the brilliant new cast we have playing this revolutionary musical at the Victoria Palace Theatre.”

Leslie Odom, Jr. said today “Returning to Hamilton and revisiting the role of Aaron Burr with the growth and perspective of time has been a profoundly healing artistic experience. I am having so much fun! I am thankful to Cameron Mackintosh and Jeffrey Seller for the invitation to make my West End debut with this fabulous company. The London production will grant me a few more glorious weeks to share Lin-Manuel’s music with an international audience who, I have learned, love this show as much, if not more, than I. I’m crossing the ocean and I just can’t wait.”

For his portrayal of Aaron Burr, Odom won the Tony Award for Best Actor in a Musical and a Grammy Award for his performance on the original cast recording. He returned to the role on Broadway for a sell-out 12 week season in the Autumn of last year. His other Broadway credits include his Tony nominated performance in the 2023 revival of Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch. In 2020, he starred in and performed the songs of legendary singer Sam Cooke in the critically acclaimed film adaptation of One Night in Miami…His portrayal of the soul icon was met with widespread praise and critical acclaim earning him nominations for an Academy Award, BAFTA Award, Critic’s Choice Award, Golden Globe Awards and Screen Actors Guild Awards. Odom was enlisted to write, compose and perform the film’s original Song ‘Speak Now’, for which he was nominated for an Academy Award and earned him a Critics’ Choice Award for Best Song as well as several other award nominations. His many other screen credits include Glass Onion: A Knives Out Mystery,  Murder on the Orient Express, The Good Wife, One Dollar, Only, Love in the Time of Corona, Central Park, Abbott Elementary and The Many Saints of Newark.

The current cast includes Alex Sawyer as Alexander Hamilton, Jay Perry as Aaron Burr, Bente Mulan as Eliza Hamilton, Emily-Mae as Angelica Schuyler, Jasmine Jia Yung Shen as Peggy Schuyler/Maria Reynolds, Jonathan Andrew Hume as George Washington, Yeukayi Ushe as Marquis De Lafayette/Thomas Jefferson, Jordan Castle as Hercules Mulligan/James Madison, Jordan Benjamin as John Laurens/Philip Hamilton and Daniel Boys as King George III. At certain performances, the role of Alexander Hamilton will be played by Adam J Bernard.

The company is completed by Yuki Abe, Zera Malvina Aitken, Richard Appiah-Sarpong, Turrell Barrett-Wallace, Joshua Clemetson, Roxanne Couch, Luca Dinardo, Nicola Espallardo, Manaia Glassey-Ohlson, Jack Harrison-Cooper, Olivia Kate Holding, Sergi Ibanez, Nicolais-Andre Kerry, Ella Kora, Lily Laight, Tamara Morgan, Aidan Nightingale, Tim Nutt, Joshian Angelo Omaña, Kiran Patel, Aharon Rayner, Liam Raven, Paulo Teixeira, Daisy Ward and Natasha Wilde.

Casting for the company from 15 June 2026 will be announced soon.

HAMILTON has book, music and lyrics by Lin-Manuel Miranda, is directed by Thomas Kail, with choreography by Andy Blankenbuehler, musical supervision and orchestrations by Alex Lacamoire and is based on Ron Chernow’s biography of Alexander Hamilton. HAMILTON features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg and hair and wig design by Charles G. LaPointe.

HAMILTON is produced in London by Jeffrey Seller, Sander Jacobs, Jill Furman, The Public Theater and Cameron Mackintosh.

PLAYHOUSE THEATRE, LIVERPOOL – UNTIL   SATURDAY 7^TH MAY 2026

REVIEWED BY MIA BOWEN

4****

Last night at the Liverpool Playhouse, I encountered a theatrical experience unlike any I have seen before. Imitating the Dog’s brand-new stage adaptation of The War of the Worlds offers a thrilling and inventive retelling of H. G. Wells’s classic science fiction novel, demonstrating that even a story penned in the 19th century can resonate terrifyingly in today’s world. 

Before I entered, I truly had no idea what to expect. My previous experiences with the story had come through various mediums: Steven Spielberg’s spectacular 2005 film, the gripping 2019 BBC series, and the unforgettable musical adaptation by Jeff Wayne, which a school friend had introduced me to on the radio years ago. I recall being captivated by both the music and the narrative, though I also found it deeply unsettling. Alien invasion stories had never seemed so plausible to me before. 

As the production commenced, it took me a moment to grasp precisely what I was observing. On stage stood four actors—three clad in medical scrubs and one in hospital pyjamas—each splattered with blood. It was a striking and enigmatic introduction. However, as the elements began to align, the experience transformed into something utterly captivating. 

The story revolves around William Travers, played by Gareth Cassidy, and is narrated entirely from his viewpoint. This interpretation suggests that the events might be a fever dream triggered by Travers after a traumatic experience. Following a horse collision at an Enoch Powell rally, he suffers a heart attack and awakens in his hospital pyjamas to a world that appears to be crumbling around him. From this moment, he traverses a haunting landscape comprised of scorched corridors, abandoned underground stations, and distressed survivors.

The remaining cast members—Bonnie Baddoo, Morgan Bailey, and Amy Dunn—continuously transform into various characters while simultaneously operating cameras and creating the world around Travers in real time. The cleverness of this staging is truly impressive. 

The high-tech visuals are undoubtedly the highlight of the production. With the use of miniature environments, model landscapes, handheld cameras, and projections, the actors craft a live film that unfolds above them. Small props and meticulously choreographed camera movements combine to create vast, cinematic scenes projected for the audience. This unique blend of theatre and filmmaking occurs simultaneously, resulting in a mesmerising effect. 

What makes this production truly remarkable is its clever storytelling. The technical precision is outstanding, but it never eclipses the human drama at its core. Rather, it amplifies the feelings of confusion, fear, and awe that Travers experiences. 

By the end of the evening, I was utterly captivated. This daring and creative adaptation demonstrates that The War of the Worlds continues to thrill and chill audiences even today. 

Festival Theatre, Malvern – until 7th March 2026

Reviewed by Courie Amado Juneau

5*****

A Kinks musical, from the West End, at the incomparable Malvern Theatres… I’m all in!

As I shuffled in I could see a band on stage and a most interesting set (from Miriam Buether) – a chandelier, three sides of speakers and a drum set bearing the name The Ravens. I didn’t know The Kinks had formed from the ashes of The Ravens, so the first revelation of the night was in place.  

Alongside my first happy moment – the music was played live on stage, with the actors enhanced by musicians, unobtrusively off to one side. Tucked away they may have been, but essential nonetheless (notably Guitarist Alex Ward)!

The cast were fantastic. Bursting with youthful vigour befitting the era – and that included the older cast members too! Go-go dancers, “crowds” of screaming girls and the like all over the place (frequently spilling off the stage in every direction). It really was boisterous stuff. Apart from the Kinks band, everyone else had multiple roles, so deserve much praise! I wish I had the word-count to name everyone personally.

The Davies brothers were particularly movingly portrayed. Both actors caught the historical figures to a tee – with Danny Horn capturing Ray’s poetic angst and struggles to maintain his original voice, plus battling pressure from all sides. Meanwhile Dave (Oliver Hoare) was the perfect embodiment of sex and drugs… Hoare gave us a joyous and empathetic reading. That I genuinely cared for both brothers is a testament to both actors skill and craft. 

There were some delicious one liners involving Lennon & McCartney and their wives; along the “you wouldn’t find… with his wife”. A very knowing and humorous nod there from the writer – a certain Ray Davies, who gifted us a sparkling script!  

The songs appeared out of chronological order so as to enhance the story. So, don’t be surprised to hear Dead End Street early in the play, sooner than You Really Got Me (despite being released over 2 years later).

There’s enough stuff here to keep even the casual fan interested i.e. the tale of how they achieved the guitar fuzz sound, Top of the Pops, other bands like Beatles and The Who mentioned… And some things never change re fame (teeth and pop stars hiding being married), so lots of juicy social commentary just like the best of The Kinks catalogue. 

The show doesn’t shy away from the hard hitting (literally) elements of the band’s story, so expect to see some on stage violence either side of the interval. Nothing too bad and the placing of I’m Not Like Everybody Else was a masterstroke there!

Speaking of the music, it was all present, correct and wonderful! Days was the emotional highlight with an acapella version to die for. The encore was a rousing concert performance of a couple of favourites to send us home positively giddy. 

A rousing night with pathos, poignancy, classic tunes re-imagined, classic tunes faithful recreated, love, loss… the whole human experience, as you’d expect from England’s musical poet laureate. What can I say – they really had me!

Birmingham Hippodrome – until 7th March 2026

Reviewed by Emma Millward

5*****

Top Hat The Musical sashayed into Birmingham Hippodrome this week, bringing Hollywood glitz and glamour. Based on the classic 1935 Fred Astaire and Ginger Rogers film and adapted for the stage by Matthew White and Howard Jacques, the show first premiered in 2011 in Milton Keynes. This revival production opened at Chichester Festival Theatre in July 2025 with direction and choreography by Kathleen Marshall.

When a show starts big and bold with ‘Puttin’ on the Ritz’ as its opening number, you know you are in for a treat. We meet Broadway star Jerry Travers (Phillip Attmore), who is about to star in a new show in London. He inadvertently meets Dale Tremont (Amara Okereke) when he wakes her up with his tap dancing. What follows is a whirlwind of comic mishaps, dancing and mistaken identity.

Phillip Attmore’s Jerry is charismatic and suave, while Amara Okereke brings a sassy warmth to Dale. Their natural chemistry is apparent from their first scene together, and their dance sequences are exquisite. The supporting cast adds hilarious energy to the show. Horace Hardwick (James Hume) and his wife Madge (Emma Williams) are central to the increasingly farcical confusion as Dale mistakenly thinks Jerry is actually married to Madge. Both provide many witty, playful exchanges. James Hume showcases his great comedic timing during the scene where he is trying to hide under a bed. Alex Gibson-Giorgio shines as Alberto Beddini, an Italian fashion designer who longs to be with Dale. His over-the-top accent and mannerisms may teeter close to becoming a caricature, but Gibson-Giorgio makes him incredibly likeable. James Clyde as Bates, Horace’s valet, almost steals the whole show with his deadpan delivery of nonsensical metaphors and his many disguises including an ‘ageing but not unattractive dowager duchess’.

The production is brimming with Irving Berlin’s music and lyrics. Classics such as “Cheek to Cheek” and “Let’s Face the Music and Dance” are met with audible sighs of recognition and appreciation from the audience. The dancing throughout the production is a true highlight. Tap routines pulse with precision and energy, while sweeping ballroom sequences allow the couples to glide and spin around the huge Hippodrome stage. Yvonne Milnes and Peter McKintosh’s costume design is lavish and often pays homage to outfits from the film, such as the silver feathered gown that Dale wears. Peter McKintosh’s clever Art-Deco half-moon revolving set allows for seamless scene changes, swiftly transporting the audience from a London hotel to the canals of Venice. Tim Mitchell’s lighting design further enhances each scene, with the skyline lighting being especially beautiful.

From the moment the curtain goes up, the audience is transported back in time to a more sophisticated era full of charm, romance and impeccable style. Top Hat The Musical is a joyous celebration of the golden age of musical theatre, delivering a timeless, unforgettable evening of entertainment.

Aylesbury Waterside Theatre – until Saturday 7th March 2026

Reviewed by Rachel Clark

4****

A powerful very well presented storyline The Beekeeper of Aleppo is a novel from Christy Lefteri and adapted for the stage by Nesrin Alrefaai and Matthew Spangelr. This is a UK Productions Ltd play and a presentation of the Nottingham Playhouse production.

This is the playwrights words is ‘An attempt to tell THE Syrian refugee story’ and in my opinion they achieved it. It was seeing the story in the eye of the refugee’s and it is powerful. It is serious and intense but there is still the odd humour in it when the refugees comment how we like tea with milk and call people ‘geezers’. The NHS couldn’t register the refugees as patients as there was a typo on the paperwork – the computer won’t accept it, I think we have experienced that for ourselves!

It is a story of Nuri played by Adam Sina and Afra played by Farah Saffari and along with their son live in war torn Syria. They spend time with the Cousin – Mustafa played by Joseph Long . Mustafa is a Beekeeper Nuri becomes one. They stay in Syria as along as possible nurturing the bees until the hives are destroyed in the war and they know the bees won’t survive long without hives and it becomes too unsafe to stay there. Eventually Nuri and Farah leave to cross Europe to England and follow Mustafa who eventually ends up in Yorkshire. We follow their journey and along the way Nuri takes under his wing a boy travelling along as he has lost his parents. Afra has lost her sight – I didn’t feel her part was that strong in the play even though one of the main characters, it was more about Nuri and Mustafa as their voices projected better. Nuri was really good, word perfect, clear voice and he held your attention. Mustafa was also superb and brought some lightness to the play with some jokes/comments on how the English are portrayed. Another person that stood out to me was Princess Khumalo – she played Lucy Fisher the case worker in the UK for Nuri and his wife and also played the part as Ageliki. Dona Atallah played Mohammed the boy travelling alone and Sami – Nuri and Afra’s son (she was very good, lively , dashing around the stage).

The scenery definitely needs a mention, simplest and no changes but oh, so effective, it was like screens and they had digital effects, so it changed to be the sea, the house, greenery and at the end the screens dropped for a really effective beach scene, there were also pictures of war-torn Syria.

A great play, powerful, effective and the story they were telling came across very
well.

Mayflower Theatre, Southampton – until 7th March 2026 

Reviewed by Emma Barnes

5*****

Checking into the Mayflower Theatre this week feels like stepping into the mid-1970s. For those old enough to remember huddling around a flickering black-and-white TV set to catch the latest disaster in Torquay, John Cleese’s stage adaptation is a high-energy restoration of a comedy masterpiece.

The production cleverly stitches together three of the most beloved episodes; ‘The Hotel Inspectors’, ‘Communication Problems’, and ‘The Germans’ into a singular, escalating nightmare of farcical proportions. From the moose head falling on Basil to the missing gambling winnings, the chaos never lets up.

Replacing John Cleese as Basil was always going to be a monumental challenge,  expectations were high, yet Danny Bayne manages it with terrifying precision. He doesn’t just mimic Basil; he inhabits the man’s razor-thin patience and elastic physicality. Whether he’s attempting a nervous “lavatorial squat” to appease a guest or breaking into that infamous, goose-stepping trot, Bayne captures the manic essence of Cleese with an energy that felt fresh.

Mia Austen is equally superb as Sybil. Her machine-gun laugh and bossy tones are perfect, providing the necessary steel to Basil’s chaos. The supporting cast are a delight, particularly Hemi Yeroham, whose Manuel is a whirlwind of frantic, well-meaning bewilderment.

Liz Ascroft’s split-level set, complete with the beige-and-floral 1970s “shabby chic” and plenty of slamming doors is a masterclass in period detail that brings the hotel to life. 

To the audience’s obvious delight, every iconic catchphrase is present and the atmosphere is electric with anticipation. From Basil’s hissed “Don’t mention the war!” to Manuel’s “I know nothing,” and Sybil’s signature shrill cry of “Ba-zil!”—it is all unapologetically there. The script even retains the sharper edges that probably wouldn’t survive a modern re-write, much to the appreciation of the crowd who were often laughing in anticipation of the punchlines.

A celebration of British comedy and expertly choreographed chaos, this is a five-star trip down memory lane. 

Yvonne Arnaud – until 7^th March 2026

Reviewed by Heather Chalkley

4****

Adaptor Francis Evelyn has captured the essence of this Dickens short story and cleverly built an authentic two act play. Running for over 10 years, there is no tiredness about its delivery and dulling of suspense. Quite the opposite, the audience reaction is a testament to that with verbal exclamations and physical seat jumping!

I start with the set and special effects, because they are at the heart of building the suspense, with ghostly apparitions and perfectly timed items falling off shelves. The historical attention to detail in the late 19^th century signalman’s box, is remarkable – a home from home where many long hours are spent alone. You can feel and see the steam trains bearing down on you as the smoke-filled tunnel beside the box comes to life, created through sound effects and lighting. Ghosts were a fascination of the era, both scientifically and spiritually. Dicken’s adeptly uses this as a device to tell the tale of a guilt-ridden man, left too long alone with his own thoughts. 

Chris Walker (Signalman) is believable in his presentation as an old man, dedicated to the railway, plagued by ghostly apparitions warning him of dangers to come. Walker (Signalman) takes you with him as he faces down the strange goings on, perfectly timing his own reactions so the audience either jumps with fright or laughs! The biggest surprise is having a late night visitor that isn’t a ghost!

John Burton (Traveller) portrays a logical man that is torn between fascination, concern for the signalman and the certainty that ghosts exist. The Traveller (Burton) gives extra context to the play, both historically and in building a picture of the signalman’s life and times. Together in the signal box Burton (Traveller) presents as a worldly gentleman attempting to keep his composure whilst Walker expresses the Signalman’s impassioned fears and concerns. The signal box is full to the brim with expectation! 

If you love a good ghost story, one that grips you from the start and does not release you until the end, this is the play for you! 

The Kings Theatre, Southsea – until Saturday 7th March 2026

Reviewed by Sally Lumley

5*****

I’m not a fan of scary movies, so it was with some trepidation that I went to the Kings Theatre last night to see 2:22 A Ghost Story.

Curiosity about a show that had had multiple West End seasons and toured extensively finally got the better of me though, and I am very glad that I plucked up the courage. This is a smart, suspenseful thriller that had us gripped right to the end.

2:22 A Ghost Story, by writer Danny Robins, joins couple and new parents Jenny (Shvorne Marks) and Sam (James Bye) in their new home. Sam has just returned from a writing trip away, and Jenny has been hearing strange noises at exactly 2:22am every night in his absence.

They have invited old friend Lauren (Natalie Casey) and her new partner Ben (Grant Kilburn) to dinner and decide to wait up to see whether they can prove that there is, or isn’t, something supernatural in the house.

The dynamics between the characters feel completely authentic. Shvorne Marks is excellent as Jenny, exhausted and terrified, we feel her desperation to be believed and frustration when her word isn’t enough. James Bye is superb as her super-sceptic husband Sam, who is adamant that there is a scientific explanation for all the paranormal activity and is determined to prove it. He is condescending and unlikeable at times, and the conflict between the couple adds to the tension throughout.

Staging, sound and lighting are used to great effect in this production to continuously ramp up the tension, and we never knew whether it would be broken by a scare or a welcome comedy moment (which were well delivered by Natalie Casey and Grant Kilburn as the dinner party guests). The beauty of seeing a show like this in the theatre is the shared experience. The audience laughed, jumped and gasped together. I had my son with me, and we were literally clinging together in parts! The anticipation in the air felt palpable towards the end, as we all waited with the characters on stage for 2:22 to arrive.

I won’t reveal anything, but the ending is superb, and we were talking about it all the way home. In fact, I’d like to see it again knowing how it ends, to spot all the clever plot nuances we missed along the way. 2:22 A Ghost Story is a fabulous way to spend an evening and had us on the edge of our seats from start to finish.