Having first encountered 2:22 in the West End bac in 2024, I was curious to revisit a play whose reputation continues to gown. Knowing the show’s secrets this tie around I was intrigued to see Whether Danny Robin’s carefully constructed mystery would remain effective once the final revelation was no longer a mystery.
2:22 revolves around couple Jenny and Sam who have just brought and are in the process of renovating their home. The show opens with Sam having just returned from a work trip and this coincides with hosting a dinner party for Sam’s university friend, Lauren and her new boyfriend Ben. During the evening Jenny reveals that for the last 4 nights at 2:22 she has been hearing footsteps and other ghostly phenomena within their daughter’s room and despite Sam’s incessant protests that there will be a logical explanation for it all she persuades her dinner guests to stay until this time.
The book by Danny Robins builds tension brilliantly and despite not setting out to be a ‘jumpy’ show you can’t help but feel on the edge of your seat for most of it as you watch the clock on stage count up to the fateful 2:22. As the story unravels it cleverly causes the audience to retrace their steps for the night, combing over clues that we missed along the way and it was this element upon rewatching that I particularly enjoyed. However it is not just the tension that Robins is excellent at building. He also portrays a number of interesting relationship dynamics on stage, The ideological battle between Jenny’s belief in the supernatural and Sam’s unwavering rationalism proves just as compelling as the ghost story itself. Meanwhile Lauren’s lingering feelings towards Sam and Ben’s outsider status creates a constant sense of unease in the family home, ensuring that the quieter moments are charged with tension. It is these relationships that hold our interest just as much as the ticking clock.
There are however moments where the plot feels repetitive and the middle sections loses momentum as conversations circle familiar ground. Repeated trips outside for cigarettes, frequent refills of the wine glass for Lauren and reoccurring debates around science and faith sometimes feel that they are delaying the inevitable climax of the show rather than advancing the story.
Playing Jenny is Shvorne Marks and she gives a memorable performance, portraying a scared mother trying to protect her child yet worn down by her husband and trying to cling to what she believes. She successfully avoided coming across as hysterical and instead trod the line brilliantly of a scared woman fighting for what she believed in. She was vital in helping draw the audience in and making us believe that we were observers of many intimate conversations. Her husband Sam is played by James Bye who despite being best known to the audience for his long running role in Eastenders but he has an impressive theatrical background also and this shone through during the show. The role is a difficult one as Sam has many unlikeable traits about him as a character yet Bye struck a balance well ensuring that he didn’t push this too far and polarise the audience too much and remove any sympathy for his character.
Natalie Casey played Lauren and it was her portrayal I found the hardest to understand, at times verging on manic it often felt like her heightened reactions were out of kilter with the more naturalistic performances on stage, making her character feel slightly disconnected from the world of the play. Completing the main quartet was Grant Kilburn as Ben. He provides not only the role of someone to lead the charge into the supernatural world but also provides social commentary on gentrification. Kilburn brought real energy to the stage and proved to be a welcome believer alongside Jenny.
The set is kept deceptively simple through out the show as we see the open plan kitchen and living area of Jenny and Sam’s home. Their state of flux is apparent and the new doors that Jenny’s despises are a stark contrast to the dated wallpaper peeking out from the hallway. The technical success of this show comes from its lighting design by Lucy Carter, with blackouts, stark red lights as the clock ticks over and movement sensors in the garden all of which help ramp up the tension. The soundscape is also well considered although the sound of foxes soon loses its novelty and ability to scare the audience.
Whilst 2:22 may no longer be able to surprise me in quite the same way it did on a first viewing, this production demonstrated just how carefully constructed Danny Robin’s play really is. The clues are there from the outset, hidden amongst compelling character dynamics and an ever present sense of dread. 2:22 remains an engrossing theatrical experience that proves there is more to the play than its much discussed ending.
2:22 is on at The Churchill Theatre until 20th June. You can find out more and book tickets here.
If you like this review you might also like my review of Annie, Double Indemnity and The Ballad of Johnny and June which are all currently on tour.