Review: A Ghost In Your Ear (Hampstead Theatre)

Review by Daz Gale

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Horror seems to be having a bit of a resurgence in theatre at the moment, with Paranormal Activity continuing to thrill and terrify audiences in the West End, even extending its run due to the audience (and critic) response. I have always said it is difficult to get horror right on the stage, but that show proved me wrong last month. It isn’t the only London theatre that is home to a horror at the moment, with Hampstead Theatre hosting the world premiere of A Ghost In Your Ear from Jamie Armitage, returning to the haunt after his acclaimed production An Interrogation last year. Would this ambitious and rather unconventional show prove every bit as terrifyingly good?

The premise of A Ghost In Your Ear sees an actor arriving at a sound studio for a last-minute job he has yet to see the script for - an audiobook recording of a ghost story. Nothing out of the ordinary there - that is, until the story seems to come to life in front of him, escaping into the studio. What is the true meaning behind the story, and how can he stop it before it’s too late?

Where some shows can be described as like nothing you have ever seen before, it would be more appropriate to describe A Ghost In Your Ear as like nothing you have ever heard before. Using binaural sound technology, each audience member wears headphones to experience every sound from the studio. The result is a complex, captivating and chilling experience that truly immerses you into the story, creating an experience like no other.

It would be very easy to dismiss that as a novelty in itself and claim it adds nothing to the story, that it is merely a gimmick. However, Jamie Armitage’s writing and direction ensure that it couldn't be further from the truth. Armitage has carefully crafted a strong story that plays into the very best of ghost stories, with its scene-setting and gradual reveals of what it is truly about. Mirroring this with the sound studio where an actor is reading the story out loud for anyone listening, only to have that audience hearing it firsthand, creates layers upon layers to the story, adding depth and a real cleverness in the intricacy of it all.

It is in Armitage’s sensational direction that allows A Ghost In Your Ear to burst into life. Running straight through at ninety minutes, it is a bit of a slow-burn at first, but deliberately so. Luring the audience into a false sense of security, Armitage masterfully sows the seeds before revealing all of the tricks he has up his sleeve and unleashing a feast of horrors onto the unsuspecting audience. The use of headphones allows for pure escapism, increasing the suspense and tension of the play, and increasing the inevitable impact of each and every scare.

I use the word “scare”, though I have always said it is incredibly difficult to truly scare an audience in the theatre like you can in the cinema (apart from those other kinds of horror shows that don’t mean to be, but that’s another story). Let me clear this up straight away - A Ghost In Your Ear dials up the scare factor in a way I have never seen in a theatre before. I could hear my heart racing in anticipation of what might happen next, never knowing where to look. This sense of disorientation transports the audience member to make you feel as if you are in a horror yourself, though this isn’t an immersive show, the use of headphones does immerse you into it, and makes each scare land effortlessly. At some moments, you could hear people’s breathing increasing, at others you could hear a pin drop, and then there were moments that elicited actual screams from audience members. This is definitely a show I would recommend checking the content warnings for before attending yourself, as the experience may prove a bit too uncomfortable otherwise. Where I always say theatre should make you feel, I love a good show that makes me feel uncomfortable, and this one had me alternating between hanging on the edge of my seat and sinking back in it for fear of what was coming next.

I can’t say too much about what happens throughout the play as I wouldn’t want to give anything away, but each and every scare is executed faultlessly. What makes Armitage’s direction all the more impressive is the speed in which everything transitions. One moment you can be watching a horrifying sight and within a split-second, everything is seemingly back to normal. It is incredibly impressive every single time, nothing risks getting monotonous and boring. I kept thinking how clever this production is, and that thought only amplified as we raced towards the conclusion.

Anisha Fields’ set design brilliantly recreates a sound studio, only one with some secrets of its own. Ben Jacobs’ lighting reveals these secrets and hides them at will for the most part, with some stunning effects utilised throughout. However, it is Ben & Max Ringham’s sound design that deserves all the praise here - innovative and mind-blowing, they have created an entire world that rings out in your ears. I could say this was planned in great detail and with great thought, but even that would be a serious disservice to the level of genius of the execution of the sound. Like nothing I have ever experienced before, they are clearly in a league of their own, and I loved being a part of their world while the headphones were on. 

George Blagden takes on the role of the unnamed actor reading the story out and discovering the world of horrors for himself. It is a challenging role - one that requires many different skills. Luckily, Blagden had no shortage of them to offer. Though your eyes may want to dart across the set in anticipation of the next scare, it proved impossible to take your eyes off of Blagden himself, such is his commanding and charismatic nature on stage. His slow unravelling as he realises what is happening around him was masterfully realised, with Blagden wowing at every turn. It takes a strong performer to maintain consistency in how compelling you are when whispering into a microphone or shouting into one, and Blagden showed no weaknesses whatsoever.

Though his role is much smaller in comparison, Jonathan Livingstone is a strong presence as the only other person in the studio. Though there is a mystery to the role initially, Livingstone’s comedic nature is very welcome, as he manages to cut through some of the most tense moments to give us all a chance to catch our breath and slow our heart rates down. His chemistry with Blagden creates some of the highlights, bringing a sense of light and shade to the play.

I was intrigued by the description of A Ghost In Your Ear, mainly for its use of binaural sound technology. I wasn't sure what to expect, but it certainly wasn’t something as exceptional as this. Refreshingly creative and stunningly realised, this play is like nothing I have ever seen before, creating a multi-sensory experience and striking atmosphere that allowed for an escapism I have rarely had in a theatre. It may be unsettling at times, and it may prove too much for those with a nervous disposition, but I came out of there completely blown away by what I had seen… and, more importantly, heard. If I ever say that horror is hard to get right on stage, this show should be the blueprint for how it can be done well, though its own uniqueness is a huge part of that. The result is an absolutely outstanding production, and the first 5-star show of the year - one that will haunt you long after you leave the theatre. Don’t be surprised to see A Ghost In Your Ear go on to big things, following its short run downstairs at Hampstead Theatre - just remember where you heard it first.

A Ghost In Your Ear plays at Hampstead Theatre until 31st January. Tickets from https://www.hampsteadtheatre.com/whats-on/2025/a-ghost-in-your-ear/

Photos by Marc Brenner