Since 2021 Danny Robins’ play has taken the world by storm, with versions all over the globe and tours around Britain. As the phenomenon arrives in Brighton, we wonder what all the fuss is about: is it worthy of the hype? With so many touring productions recently casting celebrities in the public eye, or actors that have made their name in popular soaps sometimes with great results and sometimes with not-so-great results; will the latest casting of celebrities actually be worth watching? Well, gratifyingly, the short answer is a resounding yes to both.
This is the story of a young couple with an 11 month old child, trying also to refurbish their newly purchased very old house. They have invited another couple round for the evening and the underlying tensions within all their relationships reach a bubbling intensity, against the backdrop of “is there a haunting or not”, and who exactly believes what, and whom. Once seen, we are all now initiated into the “ssshh” club: no spoilers.
The story itself crackles along with pace and sometimes ferocity, with secrets revealed and people pushed to show their innermost judgements of others. It’s acutely observed, naturalistic and beautifully written, with talking over each other as natural friends do. The clash of trying to reason the supernatural: the science perspective, that everything can be explained; opposite the firm belief that faith and believing in the afterlife is possible, plus the spectrum of various attempts at compromise between the two opposing views, are what fuels many of the discussions and sometimes arguments. It’s a melting pot of value clashes and emotions and is beautifully realised: enthralling and fascinating.
Kevin Clifton and Stacey Dooley who play the lead characters Sam and Jenny came into mass public focus winning Strictly Come Dancing in 2018, so potentially have a large following wanting to know whether their acting matches their dancing. They are outstanding in their portrayals: completely immersed and believable. Jenny’s anxious fragility boils over while you see her struggle to contain herself, with layers of sadness and fear making her absolutely real. Sam’s relentless belief that ultimately he will find a logical answer to everything to the point of belittling and bullying his wife, layering in wanting to be in control and trying to keep a lid on feelings of uncertainty and fear: they become those characters completely.
As do Shvorne Marks and Grant Kilburn as their friends: Lauren and Ben. The dynamics between them all are so real, fresh and interesting that you can’t take your eyes off them all. Lauren is originally Sam’s friend and you can feel that keenly in their interactions. Ben is the new big fish out of water bringing an almost jarring dynamic at times which really helps the story crack along. It’s an acute study of testing friendships and is totally compelling, even without the possible ghost angle.
The setting: Sam and Jenny’s house that they are renovating, with some modern additions and some original features still on show: pealing wallpaper and damp patches, is so beautifully constructed and detailed it’s an absolute feast for the eyes to take in everywhere you look, including the baby bibs hanging up on the side of a kitchen cupboard and tea and coffee being made with a blue light up kettle. Not only that, but Stacey Dooley moves around it like it’s actually her house, as if she lives there: reaching behind her for a wine glass with only a slight glance for example, which is a thing of beauty to see that amount of detail in a performance. Kevin Clifton does too, exactly as his character: as someone who knows the house but has spent less time there as he’s been out at work. All this is an utter joy to experience: it sets us all at ease, we completely believe them without necessarily knowing why. That’s such wonderful attention to detail, resulting in acting of the highest quality from everyone on the stage.
The technique of a red framed light shining at the audience during scene changes is brilliant: allowing the actors to move to position and reset if necessary. Being red makes it not so blinding. The vocal sound punctuation accompanying the scene changes are unnecessary as this is a creeping dread type of play, it doesn’t need to be a jump scare play as well. The story is absolutely gripping without having to add extra in production. The creeping dread is so consuming and encompassing and is more than enough to keep us all absolutely glued to the stage and on the edge of our seats. In fact when the interval happens, it’s a huge surprise: so total is the concentration that you don’t notice the time passing.
Watching the red LED display of the numbers on the clocks as time passes becomes something that you feel you have to keep an eye on as the tension fills the air. This production is fresh, compelling and utterly gripping; thoroughly recommended as one of the highlights of Brighton’s season.
Theatre Royal Brighton, 6 October 2025
2:22 A Ghost Story runs until 11 October 2025
Photos credit: Helen Murray
