Paranormal Activity, Grand Opera House York, September 2026

We charged our torches, peeked around a corner and headed to The Grand Opera House for Paranormal Activity

I hadn’t seen the 2007 film – or the seven sequels – so went in cold. The might explain the goosebumps. I’m a big brave boy, I’m a big brave boy…

The plot follows James and Lou who have recently relocated from the USA to England (where it always rains “Dogs and cats!”) Their new house is taking a little warming to, with dodgy electrics and things that go bump in the night. We soon learn that Lou has been spotting spooks, and believes that…something…has followed her to their new home…

James Bye as James is no stranger to ghost shows; I’d seen him previously at this very theatre in Ghost Story 2:22. He gives a solid performance, with an interesting character arc that sees him turn from cocksure sceptic to firm believer. Over two hours, he questions his faith, sanity and own moral compass.

Hannah Sinclair Robinson’s Lou tackles the issue of mental health sensitively, and gives another believable and sincere performance. The chemistry between Robinson and Bye is palpable, and we are drawn in from the very start.

Overbearing but well-meaning mother Coralanne (Caroline Faber) just wants a grandchild, and is worried for son Jimmy and the wavering mental health of his sweetheart. She’s relatably overprotective, and Faber really gets to play with light and shade in the second act.

We also meet spiritualist Etheline Cotgrave (Jo Castleton) who conducts an obligatory séance. Castleton milks the seriousness of the situation expertly, although the séance scene is similar to many seen before and doesn’t innovate. I guess séances have been done…to death?

Fly Davis’ set is reminiscent of a classic horror trope…a creepy doll’s house. The action flits between rooms across both levels, and there are plenty of slamming doors and flickering lights to add drama.

Chris Fisher is on-hand as Illusion Designer. Illusions, you ask? This isn’t The Conjuring! Think more stage trickery than razzle dazzle, but oh boy do they work. No spoilers from this reviewer, but one effect in the first act is both unexpected and perfectly executed.

Gareth Fry’s sound design goes beyond sudden loud noises, although there are a few of those. Expect evocative soundscapes, eerie hums, creaks, drones, and clever use of silence between. Anna Watson’s lighting deserves a special mention too, with darkness and shadow used to great effect, and hazy blues reminiscent of CCTV footage.

The marketing behind Paranormal Activity suggests you’ll need to bring stress balls, emotional support toys and even a will in lieu of your departed bravery. Whether this is just pre-show hype will depend on your own terror tolerance, but many will find it scary.

The production excels at creating a creeping sense of dread. There’s a slow-burning tension, punctuated with some sudden jump scares and plenty of surprises. This opening night audience switched between edge-of-your-seat silence to gasps, screams and nervy giggles. Whilst the pace dips a little in the second act, overall the scares come thick and fast.

A list of trigger warnings only adds to the fear factor, with loud bangs, childhood trauma, depression, alcoholism and death. It’s all not doom and gloom though, and there’s some sharp comedy courtesy of writer Levi Holloway’s script.

Like the aforementioned Ghost Story 2:22, this is a modern day ghost story co-starring Alexa (or “one of her relatives”), video calls and hi-tech security systems. It perhaps lacks the clever simplicity and historical context of something like The Woman in Black, but works well as a 21st century spookfest.

A tense tale told well, it may well set your nerves jangling and heart racing. Book now…if you dare…

Paranormal Activity runs at Grand Opera House York until Saturday 3rd October. Tickets at https://www.atgtickets.com/shows/paranormal-activity/grand-opera-house-york/

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

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…

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!)

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.

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.

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…

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