2:22 A Ghost Story, Grand Opera House York, March 2026

York. Arguably the most haunted city in Europe, if you believe in all that. Either way, it’s the perfect city to catch a ghost story in, and last night we did just that…

2:22 A Ghost Story has run in the West End for seven seasons, as well as touring nationally to rave reviews. This kitchen-sink drama sees a group of dinner party guests staging a vigil to investigate an apparent haunting at precisely 2:22am each night.

As the evening passes, the mix of believers and sceptics discuss life, death, science, religion, reincarnation and more. Personalities clash, props crash and the drama builds and builds. It’s not a shock-a-minute show but a slow-burner that grips you with effective storytelling, then startles with scares and revelations.

The cast of four give believable performances throughout. Sam (James Bye) is a staunch non-believer with an ‘I think you’ll find’ answer for everything. Wife and new mum Jenny (Shvorne Marks) is spooked by happenings in their daughter’s room, and frustrated with Sam’s lack of support.

Ben (Grant Kilburn) draws on his spiritualist mother’s beliefs, and is pivotal in trying to make contact with the dearly departed. Natalie Casey – of Two Pints of Lager and a Packet of Crisps fame – plays Lauren. She quickly descends into drunken depravity, and throws some epic dance moves, as she wrestles with her own early ghost-sightings and unrequited love.

The dynamic between the four works incredibly well. There’s a strong and tangible tension; not just because of the spooky shenanigans but down to the opposing views and belief systems. Any new parent will relate to Jenny’s maternal worries too; that desperate need to protect her daughter at all costs. And those sleepless nights that can play tricks on a weary mind…

The last spook-show we saw was Susan Hill’s The Woman in Black, a classic haunted house ghost story set in the Edwardian 1900s. 2:22 is an altogether more modern affair…you won’t find baby monitors or Alexa in Hill’s tale!

There’s something refreshingly different about a ghost story set in the present day. We arrived not to tinkling music boxes, but a pumping dance soundtrack. There are no creaky doors or creepy dolls, but other horror conventions are still very much intact. From sudden blackouts and inclement weather to footsteps on floorboards and wailing voices…there’s plenty to set the heart racing.

Danny Robinson’s writing is sharp, and a special mention should go to Anna Fleischle’s set design, and Lucy Carter’s dramatic lighting. It’s a haunted house, but not as you know it. Expect crumbling brickwork, flaking paint and a dodgy boiler, but also sliding glass doors and an IKEA fitted kitchen. Oh, and a garden besieged by mating foxes.

For kids? Not little ones! The recommended age is 12+. I took my 12-year-old and he loved it, and didn’t find it especially scary overall. He was hoping to be more scared – in a fun way – but appreciated the drama of it all, and the clever twists and turns had him gripped.

Scary? That depends on your terror-tolerance, but we didn’t find it as scary as anticipated. There are some effective jump scares and surprises though. It perhaps takes a little while to really get going, but the plot is engaging enough to build suspense, and the discussions of the afterlife are thought-provoking.

My advice if you are planning to see it, is avoid reading too much about it. There are spoilers to be…spoiled…and the less you know, the better! Thankfully, this reviewer went in cold and enjoyed not knowing what to expect.

Four stars from me, five from my son!

2:22 A Ghost Story runs at Grand Opera House York until Saturday 4th April. Feeling brave? Book your tickets at https://www.atgtickets.com/shows/2-22-a-ghost-story/grand-opera-house-york/

Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.

The Woman in Black, Grand Opera House York, January 2025

Last night we saw The Woman in Black at York’s Grand Opera House. But did it leave us in high spirits? Time to shine a light on what we thought…

Photo credit Mark Douet

Based on Susan Hill’s novel, the plot follows solicitor Arthur Kipps, sent to middle-of-nowhere Crythin Gifford to sort the papers of deceased Mrs Drablow. A sinister tale unfolds, with the locals tight-lipped about mysterious sightings of a shrouded figure with a wasted face. 

Desperate to unburden himself by telling his story, Kipps enlists the help of an actor. What follows is a play within a play, as the ghoulish tale is brought to life with inventive  stagecraft and traditional, theatrical storytelling. 

Something of a shape shifter, John Mackay effortlessly switches between characters and accents. He also plays a bad actor really…good (better than that grammar too!) 

Photo credit Mark Douet

Guided by The Actor (Daniel Burke) there are flashes of comedy, as Kipps struggles to find his inner thespian. Both Mackay and Burke give stellar performances throughout, and had this audience hanging on every word. 

Michael Holt’s set design is intentionally bare-bones. We’re met with an almost empty stage; just a few props draped in cloth, a hat stand and wicker hamper. A lot is done with a little here – the hamper for example becoming a bed, table, pony and trap and more. The Woman in Black relies on your imagination to fill in the blanks, and it works wonderfully well. 

Photo credit Mark Douet

Set in a theatre in the 1950s, The Actor celebrates the invention of recorded sound – which is used to great effect throughout. Sebastian Frost’s sound design (and original sound by Rod Mead) adds drama and tension, and helps the audience suspend their disbelief all the more.

Kevin’s Sleep lighting design sets the scene perfectly too. Darkness is used cleverly to give us glimpses of things in the shadows. Elongated shadows by lamplight are reminiscent of vintage horrors such as Nosferatu. Fang-tastic.

Photo credit Mark Douet

Classic ghost story tropes are here, from rolling mists, locked rooms and creepy toys. Scary? That depends on your terror-tolerance. There were plenty of jumps, and some giggly screams from this enraptured audience. Some may find it slow-paced at times but it’s that creeping, psychological horror that really gets under your skin. 

Thinking of taking your little terrors? It’s not for the easily spooked, and the suggested age rating is 12. My 12-year-old loved it, and we both agreed it was better – and scarier – than the 2012 film with Daniel Radcliffe. 

There were several school groups in on this opening night, and I can see why. The Woman in Black is a masterclass in dramatic storytelling, a minimal approach with maximum impact. 

Frightfully good.

The Woman in Black runs at York’s Grand Opera House until Saturday 17th January. Book your tickets at https://www.atgtickets.com/shows/the-woman-in-black/grand-opera-house-york/ if you dare…

Photo credit Mark Douet

Disclaimer: Tickets were kindly provided for this performance, however all opinions are honest and are our own.