We take a look at what is being said about the world premiere of Jamie Armitage’s thriller, playing until the 31st January.
WhatsOnStage: **** “Blagden begins a little uncomfortably when he should be most relaxed, but he’s an excellent storyteller and excels as the tension grows. Livingstone is brilliant as the supposed sidekick, piping up jovially only to point out how irrationally George is behaving, or so we’re to believe.”
Everything Theatre: *** “The headphone gimmick might feel unnecessary, taking away rather than adding to the story, but even so A ghost In Your Ear still succeeds in delivering a fun spooky story with a few genuine scares.”
The Arts Desk: “Plaudits to both Blagden and Livingstone for an enjoyably compelling management of the journey from the rational to the irrational. Whether or not you believe in ghosts, this should prove at the very least a decent work out for your adrenal gland.”
Theatre & Tonic: ***** ” A Ghost in Your Ear is a phenomenal psychological horror, and a must-see for any horror fan. If you enjoy exceptionally well-written chilling stories that will frighten you and leave you shivering long after the final lines, then this is the show for you.”
The Stage: **** “Jamie Armitage’s new horror play is a slick, jump-scaring masterclass.”
All That Dazzles: ***** “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.”
West End Best Friend: **** “Jonathan Livingstone melts in and out of the production as the mysterious sound engineer, with a subtle dark depth to his performance, the full weight of which is revealed in the show’s final dark twist.”
Time Out: **** “Part of the treat here is seeing something so technically accomplished in Hampstead’s tiny Downstairs studio theatre, where the budget is usually pretty minimal (this is clearly higher than usual, as are ticket prices). It’s a pretty damn dazzling use of the space. I think if it were to go into the main house then you might ask harder questions of Armitage’s script, which is a fun meta tribute to the classic haunted house ghost story and to the world of audio actors, but maybe feels a little too much like an extended episode of Inside No 9 for its own good.”
The Spy in the Stalls: **** “‘A Ghost In Your Ear’ is a taut fusion of gothic storytelling and modern innovation, leaving audiences gasping and ominously on edge. Though it may not be for everyone, the binaural sound design creates a genuinely immersive experience which is absolutely worth seeking out.”
Theatre Weekly: **** “If the use of headphones recalls experiments seen in productions like the Donmar’s Macbeth, here it feels particularly apt. The innovation suits the genre, and while not every choice lands perfectly, the ambition is admirable. A Ghost In Your Ear is a bold, atmospheric piece that redefines how we experience theatre, proving that horror can thrive in the intimacy of sound as much as in the spectacle of sight.”
The Reviews Hub: **** “Without giving too much away, A Ghost In Your Ear has something serious to say about facing up to family secrets, and how adults often struggle to cast off the shackles of inadequate or even malign parenting.”
London Theatre 1: **** “Entertaining more than it was eerie, it was a thoughtful and satisfying experience.”
Broadway World: **** “A Ghost in Your Ear is smart, intricately-crafted, and properly scary – bring a friend to hold onto!”
The Standard: **** “Working in genre fiction has its hazards: in both cases, Armitage’s dialogue lapses occasionally into hackneyed phrases. But he’s a writer to watch. And, it turns out, to listen to.”
To book tickets visit: https://www.hampsteadtheatre.com/whats-on/2025/a-ghost-in-your-ear/