Those of a nervous disposition – or more specifically, an aversion to hideous forms leaping from darkened spaces – should be warned that Ghost Stories may not be the ideal theatre night out for them.
However, if jump scares and multi-layered supernatural storylines give you a thrill, there’s ample reason to see a show that dominated the West End, broke records, toured the globe and inspired a well-received screen adaptation produced by Sheffield’s own Warp Films.
In the opening scene, the audience meets protagonist Professor Goodman (Dan Tetsell), who begins proceedings with an insightful lecture on humanity’s longstanding relationship with the paranormal. A committed and level-headed sceptic, he convincingly explains how those in power once used the fear of ghosts to control societies. He also delves into the psychology behind supernatural beliefs, demonstrating how people can be led to ignore rational explanations, allowing experiences of pareidolia – perceiving paranormal images or sounds in otherwise innocuous stimuli – to create the illusion of ghostly encounters.
As his self-assured and sometimes humourous presentation draws to a close, Goodman admits a vulnerability to the audience: despite his long career debunking ghost stories, three cases continue to haunt him. From here, we are transported into the chilling recollections of night watchman Tony Matthews (David Cardy), anxious teenage boy Simon Rifkind (Eddie Loodmer-Elliot) and wealthy businessman and expectant father Mike Priddle (Clive Mantle).
We leave the joviality of the lecture hall and, through clever set design, tension-raising lighting techniques and immersive sound effects – both subtle and bloodcurdling – are pulled into a trio of nightmarish scenarios. As the dread grows with each scene, unfolding events grow ever more inexplicable, hinting that there is far more here for the increasingly disoriented professor to unpack.
All the cast play their roles incredibly well. Cardy, Loodmer-Elliott and Mantle each present strongly-formed characters that you can get a good measure of despite their relatively short stage appearances (the whole play is just 80 mins). Tetsell is particularly engaging, presenting a slick, composed performance to begin with before running the whole gamut of emotions as the play moves through its paces.
I’ll say no more at risk of spoilers – and if you’re going in blind to this show, you really want to remain in the dark for the full effect. That said, even if, like me, you know what’s coming, I can guarantee you’ll still get more than your fair share of jolts and shocks, eventually owning up to a slight sense of relief when the lights go back on and the nightmare is over.
4/5
Showing Tue 11 – Sat 15 Feb at Lyceum Theatre. Tickets available here.
