2:22 A Ghost Story has become something of a phenomenon since Danny Robins first penned it back in 2021. Robins, best known for his fascination with real-life paranormal accounts through podcasts like Uncanny, reportedly drew on both documented cases and his own sleepless nights to shape the play’s central idea: what happens when belief in the supernatural collides head-on with extraordinary events in the dead of night? Premiering in London’s West End at the Noël Coward Theatre, it has subsequently racked up seven West End seasons, attracted multiple star-studded casts, and has enjoyed a sprawling international life, not to mention a record-breaking UK tour. The premise is straightforward enough: Jenny is convinced her new house is haunted. She claims to hear noises every night at the exact same time – 2:22am. Her husband Sam, a rationalist to the point of smugness, is not convinced. They invite friends Lauren and Ben over for dinner, and as the clock ticks toward the eponymous 2:22, tensions rise, wine flows, and belief systems wobble. It’s a ghost story wrapped in a relationship drama wrapped in a comedy of manners, and this week it brings its formidable reputation to the stage of the Theatre Royal, Nottingham.

This expert cast wastes no time drawing us in to the drama. Shvorne Marks plays Jenny with a jittery intensity; I can sense her lack of sleep and creeping dread as she clings to her conviction that something in this new house is just not right. Opposite her, James Bye takes on Sam, grounding the play with a scepticism that borders on stubbornness – his rationality feels relatable, even if it frustrates the hell out of those around him. Bye has excellent stage presence and great chemistry with the other players. As Lauren, Natalie Casey injects warmth and sharp comic timing, cutting through the tension just when it threatens to overwhelm. Meanwhile, Grant Kilburn (who has starred in the show in the West End) portrays Ben with an intriguing calm, leaning into the supernatural with a quiet confidence that keeps everyone guessing. The whole ensemble do a very credible job of leading us through the night and headstrong toward 2:22.

Visually, the set design (Anna Fleischle) is a triumph of domestic realism. The house feels lived-in – almost too lived-in – as if it has absorbed the history Jenny fears. Subtle details – a large patio door, a staircase just out of view – do much of the heavy lifting. I find my eyes constantly scanning the stage, half-expecting something – or someone – to move.

The soundscape (Ian Dickinson for Autograph) is a character in its own right. Low rumbles, distant fox screams, the sudden crack of something unexplained – all serve to keep the nerves on edge. And the lighting design (Lucy Carter) is wickedly clever. Warm, cosy tones lull us into comfort, only for a sudden blackout or a blood-red wash to jolt us back into fear mode. When the clocks on the stage finally hit 2:22, the entire auditorium seems to hold its breath.

By the time the final twist lands – sharp, shocking, and brilliantly earned – we’re all grinning like someone who’s just been expertly hoodwinked. What I enjoy most, though, is the play’s sense of fun. It knows when to tease and when to resist. Part of the appeal, I think, is its universality – almost everyone has experienced a strange noise at night or a moment of doubt in the dark. Robins taps into that shared vulnerability and builds a ticking-clock narrative around it, with 2:22am positioned as the moment of reckoning.

2:22 A Ghost Story isn’t just a play; it’s an experience, and tonight in Nottingham, it absolutely delivers. Catch it if you can – at Nottingham Theatre Royal all week, until Saturday 25^th April.