Previously best known for his work on BBC’s “Comedy Playhouse” and creating the horror comedy series “Young Dracula” for the Children’s BBC, people largely associated Robins with comedy writing for years. Without going into any detail, there are, unsurprisingly, twists in the plot, but these are neither startlingly original nor that difficult to predict; much of the fun comes from spotting the clues that are carefully laid beforehand.

So to sum up – if you’re a thrill seeker, a ghost story lover or enjoy sitting on the edge of your seat this show is definitely worth seeing. Written by Danny Robins is pretty damn good and is simplistic in it's approach but impactful on it's conclusion. But the script is rife with plot holes and some persnickety pacing challenges (it'd probably be more effective as a 100 minute rollercoaster with no intermission). Director Matthew Dunster has successfully created a atmospheric sense of expectation and the potential threat of menace is present from the off.It’s a sin star Nathaniel Curtis and EastEnders Louisa Lytton head to Norwich Theatre Royal in the spine-tingling play 2:22 A Ghost Story . The various London casts have often featured some left-field choices, but here we are largely in the time-honoured touring realm of faces recognisable from TV.

Lots of questions are asked within the story, some are explained but others are left to linger in the mind for you to ponder. In America, the story has been transplanted to Boston and its now coyotes who can be heard throughout the night. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply. He has a fine ear for dialogue and eye for emotional faultlines [but] it's the extremely cleverly worked supernatural angle that keeps things fresh.The character development is much better than it even needs to be, and I am sure it works like gangbusters on stage. The day we moved in, we found this little Victorian child's shoe that was moved and when my wife was standing outside a slate slid off the roof and hit the floor next to her. Anna Fleischle’s set, an apparently traditional evocation of a house lacking its fourth wall, is a little lost in the huge expanse of the Festival Theatre stage.