A MODERN GHOST STORY THAT STRUGGLES TO DELIVER FEAR

By Tanya Howard | Founder, The Live Review London · @glamglitzlondon ⭐⭐ | Press Invite

I went into Paranormal Activity at the Ambassadors Theatre expecting to be terrified. The kind of fear that follows you home and makes switching the light off feel like a bad idea. The kind that lingers and has your heart racing. Instead, I left feeling underwhelmed and more puzzled than shaken. I was slightly disappointed that the dread never fully landed… a sentence you don’t expect yourself to say.

This stage version promises an intimate, immersive take on modern horror. It leans heavily into darkness, sound, and atmosphere. Extended moments of pitch-black fill the theatre, clearly designed to stretch nerves and build anticipation. At first, I was ready for a sharp shock or sudden reveal. Instead, these moments often served as resets between scenes. The problem is that most scenes take place in the same space, so the pauses felt long and repetitive rather than suspenseful.

That is not to say the show lacks scares; there are moments that genuinely work. When they land, they are effective and well executed. There are a few moments I found myself thinking, damn! The issue is timing. Act one takes a long time to get there, and the payoff feels too spread out. Fear needs rhythm, and here it often loses momentum.

WHEN THE CHARACTERS DON’T CAPTURE YOU, THE TENSION SLOWS

At the centre of the story are James and Lou, who have moved to London to escape their past. Their dynamic never quite convinced me. Lou is clearly dealing with unresolved issues, and James comes across as self-centred. I did not feel much warmth between them, which made it harder to care when things escalated. At times I wanted them to be haunted just to shake them out of their own frustrating dynamics.

Some character choices also pulled me out of the experience. Small details, but distracting ones, like Lou going to bed in jeans some nights. It seems silly, but realism in character behaviour matters when you are being asked to buy into suspense. Other behaviour choices felt oddly casual given the backstory you discover. Some moments felt inappropriate given details that transpire, creating the wrong kind of tension. These may seem minor, but in a show built on atmosphere, details matter.

Performances were strong and there is no denying the talent on stage. Patrick Heusinger and Melissa James work hard and deliver committed performances. Supporting roles, particularly the seance specialist and other secondary cast members, brought key energy and timing to the scares. The team worked hard to make each jump, whisper, and sudden movement count. It’s just a shame I was left with more questions than chills.

CONFUSION INTERRUPTS THE MOMENTUM OF FEAR

One scene involving a séance should have been a highlight. Instead, it became confusing. The spirit speaking was hard to understand, and I was not alone in that. Several audience members shared the same confusion afterwards. I’d also love someone to explain the mysterious end of Act One, which doesn’t seem to be addressed again. Mystery is one thing, but basic understanding still matters. Especially in a live setting.

There is a strong modern angle throughout. The up-to-date touches were smart, incorporating video calls, podcasts, and even smart home devices, which kept the story feeling contemporary. They ground the story firmly in the present day. The set and sound design are excellent at making the space feel alive, and some moments genuinely made me jump.

Overall, Paranormal Activity feels like an interesting concept that does not fully work on stage. There is ambition here. There are ideas worth exploring. But the execution feels underwhelming. If you are a big fan of the franchise, you may get more from it. If you are hoping for sustained tension and fear, it may leave you wanting more. I wanted to be scared. I wanted to feel that creeping dread… Instead, I slept just fine.

Paranormal Activity is running at the Ambassadors Theatre until Saturday 28 March 2026.

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Photo Credit: Johan Persson