★★★

“For the audience, there are goosebumps aplenty but no cause for nightmares”

With its previous West End successes fresh in the mind and the production now on national tour, this play by Danny Robins has all the signs of becoming a cult classic. As the house lights go down, the audience whoops and even screams in anticipation.

Lauren (Vera Chok) and her new boyfriend Ben (Jay McGuinness) are invited around to the home of Sam (George Rainsford) and Jenny (Fiona Wade) for food, drinks and a friendly catch-up. It’s a classic comedy set-up that builds on past rivalries, marital bickering, and one-upmanship between the couples. And there’s a lot of humour at play here – particularly in the ribbing between the two men – but the clue is in the title. This is not primarily a comedy but a ghost story and each of the characters has their own story to tell. The main story is that of Lauren who has witnessed and heard strange goings on at precisely 2.22am over the last few mornings and the four friends agree to wait up to witness it all for themselves. Two digital clocks are constantly on show and whilst we enjoy the shenanigans of the dinner party throughout the evening our eyes are on the clocks as the minutes move closer to the moment of truth.

The ensemble doesn’t quite gel at first. A lot of dialogue is lost in the vast Derngate auditorium as characters speak over each other. Fiona Wade excels as the exhausted mother of a new baby, exasperated that her husband can’t accept that what she has seen is real. George Rainsford is the star of the show, his bouncy enthusiasm driving everything forward. Acting newbie Jay McGuinness does well as cockney-chappie-builder, dressed in a blue suit and no socks (Cindy Lin costumes). Vera Chok gets better as Lauren gets drunker.

Sparing use of eerie soundscape heightens the mood (Ian Dickinson sound) and in a story of this type there simply has to be a scene with fog rolling in and lightning strikes (Lucy Carter lights). The set (Anna Fleischle set design) looks somewhat cramped making movement around the household furniture awkward (Directors Matthew Dunster and Isabel Marr).

Signs of the ongoing redecoration allow discussion about neighbourhood gentrification and the trend for a new generation to do away with the past. This then connects with the possibility of resident ghosts objecting to the new change. Part serious, part absurd.

It’s up to us to decide how ludicrous any of this party talk might be. Jenny, after all, is genuinely scared. For the audience, there are goosebumps aplenty but no cause for nightmares. And plenty to think on once the clock reaches 2:22.

THE MIRROR CRACK’D at the Royal and Derngate Theatre

★★★

“Special mention goes for Ward’s restrained performance as the softly spoken starlet”

Original Theatre has assembled a first-rate cast for this new adaptation by Rachel Wagstaff of Agatha Christie’s classic novel.
The action is set somewhere in the 1950s, a time when supermarkets and showers are new commodities, and the death penalty is still a deterrent. It’s not too much of a spoiler to report that a murder is committed for which there are a number of prime suspects. From out of town, and whose arrival is causing so much excitement in the sleepy village, are Hollywood legend Marina Gregg (Sophie Ward) with protective husband and film director Jason Rudd (Joe McFadden), co-star Lola Brewster (Chrystine Symone) and amongst their faithful entourage are waiter Guiseppe (Lorenzo Martelli) and secretary Elia (Sarah Lawrie). From within the village are the wealthy Dolly Bantry (Veronica Roberts), the down-to-earth Leighs (Jules Melvin & David Partridge) and Miss Marple’s home-help Cherry Baker (Mara Allen). A variety of personages with colourful accents – some of them over-played – verges close to pantomime on occasion. But as crucial scenes are re-enacted with different interpretations – bravo Jules Melvin – generally the performances are honest and rise above the caricature.

Special mention goes for Ward’s restrained performance as the softly spoken starlet, and Roberts’ bustling Dolly who appears to be the real village gossip.

Director Philip Franks moves this large cast of twelve naturally around the stage. Often in frieze positions whilst action is highlighted elsewhere, occasionally unwelcome shadows are cast from the otherwise effective side lighting (Emma Chapman). Frank’s insightful direction provides a line-up of suspects for us to learn who is who which aids the interval fun of making a guess as to whodunnit.

A central revolving structure (Designer Adrian Linford) provides the imposing backing for both Miss Marple’s living room and the film studio with large French windows and sliding glass doors showing a mirror reflection of the action. An almost constant background of effective incidental music going on behind much of the dialogue (Max Pappenheim) enhances the suspense but also evokes the comfortable feeling of watching something familiar on Sunday evening TV.

For much of the first act, Miss Marple (Susie Blake) sits on a central winged armchair, her bandaged sprained ankle raised, whilst snatches of action take place in front of her. The humorous repartee between her and Chief Inspector Craddock (Oliver Boot), as Miss Marple subtly takes over the questioning of suspects, is well done. Boot, despite a stereotypical moustache and much pacing, holds his own amid the laughter.

As Miss Marple takes to her feet with the aid of crutches, and then a walking stick, the plot moves closer to a denouement. We hear backstories about key players but an effort to provide some gravitas by writer Rachel Wagstaff by tying things together within a common theme of personal loss doesn’t really hit home.

This audience shows that the character of Miss Marple is well-loved and Susie Blake’s reliable and sympathetic portrayal of her steals the show. Who would have thought that this amiable old spinster’s first word on waking up from a dream at the start of the play would be “bugger”?

2:22 A GHOST STORY at the Royal & Derngate Theatre

★★★

“For the audience, there are goosebumps aplenty but no cause for nightmares”

2:22 A GHOST STORY at the Royal & Derngate Theatre (as part of UK tour)

Reviewed on 10th January 2024

by Phillip Money

Photography by Johan Persson

Previously reviewed at this venue:

2:22 A GHOST STORY