Noel Coward Theatre, London now

A tense and riveting psychological thriller.

We’ve all been to that dinner party. The one where that one guest has clearly been invited under sufferance and the hosts are obviously in the middle of some domestic argument that’s barely contained beneath their new dress and designer T-shirt.

The tension begins to build right from the opening scene, and I defy anyone not to shriek at least once at one of the many well-placed jump-scares in this thriller that is as much a dramatic treatise on the concepts of belief and logic as it is ghost story. The gasps, screams, laughs and moments you could hear a pin drop were plentiful.

A well-balanced narrative is becoming a trademark of writer Danny Robins and he cleverly weaves theories from the field of parapsychology into his narrative, while not forgetting to show us the way that such phenomena feel to the people who experience it. It is an endlessly fascinating aspect of the human condition, no matter which position you take on the matter, and what drives either your belief or your scepticism – regardless of your personal views, there will be something to challenge you and something to make you cheer. There’s also a very timely dissection of London’s socio-economic history and the challenges and prejudices that have grown over the last few decades.

Lily Allen makes an absolutely stunning West End debut, driving much of the above-mentioned tension. Without giving anything away, she will utterly break your heart, more than once. Jake Wood steals many scenes, as he scores most of the laughs. You’d be forgiven for thinking he’s the ‘light relief’, but his character is so much more than that. Just wait. This review is spoiler free, but perhaps one day my editor will let me wax lyrical on the subject – the only problem being, my essay will be longer than the script.

Stage space is used well, with the setting of a half-renovated home being very relatable for many audience members I’m sure, so it instantly evokes that sense of the familiar – that this story could easily be unfolding in your dining space too. The kitchen’s beautiful, just don’t look at the wallpaper.

The interpersonal history of the four characters is also an aspect that will keep you guessing. Julia Chan and Hadley Fraser’s characters (with compelling, deep and rich performances from both) have a lot of water under the bridge and it shows. It’s so interesting to see the dynamic between husband and wife and his best friend. She stands up to him and he seems to respect her opinion more than that of his own wife. But when all’s said and done, you can’t deny that he loves his wife – if you believe anything by the end of this unique and enthralling play, believe that.

Verdict: A play that will haunt you. Miss it at your peril. 10/10

Claire Smith