The House Party, a contemporary reimagining of Strindberg's Miss Julie, bursts with raw energy and visual spectacle.
After premiering at Chichester Festival Theatre, the play now embarks on its UK tour, making a stop at Leeds Playhouse before heading to Manchester's HOME Theatre from 25 until 29 March.
Written by Laura Lomas and directed by Holly Race Roughan, the play unfolds in a dynamic, post-modern setting that is both exhilarating and unsettling.
At the heart of this production is Julie, a young woman at a desperate crossroads in life. Her 18th birthday party becomes the catalyst for a series of charged and volatile encounters.
This collaboration between two powerhouse theatre companies - Headlong Theatre, known for its visual artistry, and Frantic Assembly, famous for its contemporary movement - results in a performance electrified by style and energy.
Movement director Scott Graham transports the audience into the chaotic, adolescent world of a house party through highly stylized choreography. The seamless blending of visual, audio, and movement is one of the production’s standout elements, crafting a playground that reflects the naivety and childlike behavior of the characters.
The House Party at Leeds Playhouse, review - one party invite you don’t want to miss
Synnøve Karlsen’s portrayal of Julie is nothing short of captivating. She expertly navigates the emotional volatility of a character who is both searching for connection and consumed by loneliness.
The play’s choreography, full of wild dance numbers and frenzied intoxication, amplifies Julie’s spiralling emotional state. Karlsen’s performance is a powerful exploration of a young woman’s internal struggles with identity, heartbreak, and the longing for validation.
The supporting cast also delivers strong performances. Sesley Hope brings a haunting depth to Christine, a woman caught between loyalty and personal aspiration, while Tom Lewis, as John, plays a quiet, longing character who is entangled in Julie’s tumultuous world. His yearning for her encapsulates the central theme of unattainable love that permeates the story.
While the production’s energy is undeniably captivating, at times it overwhelms the quieter moments of reflection that underscore the deeper themes of loneliness and isolation.
The digital clock, counting down the time of the party, serves as a stark metaphor for the fleeting nature of the characters’ lives, their brief connections, and their doomed desires. However, the relentless momentum sometimes drowns out the subtler, more poignant moments that provide emotional depth to the play.
In the end, The House Party is a compelling modern take on a classic drama. Its vibrant, high-energy atmosphere pulls the audience in, while the complex emotional currents linger long after the performance ends.
It’s a tense, occasionally uncomfortable exploration of intimacy, isolation, and the messy, often painful consequences of desire.
30 years on from the film that changed everything, and following its successful world premiere run in London’s West End, Trainspotting The Musical is heading out on a major UK tour later this year, and will be taking to one of Leeds' most iconic stages this winter.
Written by Irvine Welsh – as adapted from his best-selling debut novel – and directed and developed by Caroline Jay Ranger, Trainspotting The Musical has been described by critics as ‘radical, invigorating and life-affirming’ since its premiere.
It’s said to be an unforgettable production that’ll have even the most sceptical audiences leave on a ‘consciousness-altering high.’
In 1996, the breakthrough British film of the same name was released and became the biggest grossing UK film of the year, winning a slew of awards in the process – including a BAFTA for Best Screenplay, and even being ranked tenth in the BFI’s top 100 greatest British films of the 20th century.
Now, three decades later, the industrial drug crazed working-class heroes of British youth culture are back… but this time, live on stage.
“I believe the musical has a bigger, loudly beating human heart than either the book or the film,” creator Irvine Welsh commented as the UK tour was announced this week.
“People need to think about the world we’re living in, and we offer that inspection, but they also need to sing their hearts out and laugh their heads off. It’s what being human is all about. We’ve put together an incredible Scottish cast and I can’t wait to see them bring the musical to life.”
Trainspotting The Musical will taking to the stage at the Leeds Grand Theatre from Monday 7 until Saturday 12 December 2026.
2:22 A Ghost Story at Leeds Grand Theatre and Opera House: When silence becomes the scare
Declan Kelly
The supernatural thriller 2:22 A Ghost Story arrived at Leeds Grand Theatre as part of its UK tour, bringing Danny Robins’s hit production to a packed audience.
Since its West End debut in 2021, the play has become known less as a straight horror and more as a gripping psychological debate wrapped in a ghost story.
At the centre of the story is one key question: do ghosts actually exist? Set during a dinner party between two couples, the drama unfolds as Jenny becomes increasingly convinced their home is haunted, claiming she hears strange noises every night at exactly 2:22am.
Her husband Sam dismisses her fears as irrational, while friends Lauren and Ben challenge both sides, turning the evening into a lively clash of belief and scepticism. What begins as a conversation gradually becomes something far more tense, as personal fears and buried tensions rise to the surface.
Image: Supplied
Rather than relying on traditional horror, the production focuses on atmosphere and psychological tension. The script builds unease through sharp dialogue, awkward silences and shifting power dynamics between the characters. Instead of delivering constant shocks, it keeps the audience questioning what is real and what might simply be a coincidence or imagination.
That said, the play does use theatrical jump scares effectively. Sudden loud noises, abrupt lighting changes and eerie sound cues interrupt the dialogue at key moments, creating jolts of tension without ever fully tipping into outright horror. These moments are brief but impactful, designed more to unsettle than to terrify.
Image: Supplied
The cast works strongly together to maintain this balance. Shvorne Marks brings emotional intensity to Jenny’s growing fear, while James Bye plays Sam with grounded scepticism that slowly begins to crack. Natalie Casey adds sharp humour and bite as Lauren, and Grant Kilburn provides openness and curiosity as Ben, keeping the debate lively and unpredictable.
The production design is another standout element. The modern, stylish home feels realistic and lived-in, but subtly shifts in tone as the story progresses. Careful lighting and precise sound design ensure the space never feels entirely safe, even in silence, reinforcing the idea that something might be just out of sight.
Image: Supplied
As the final moments unfold, the play returns to its central idea: the waiting. The quiet anticipation of night, the smallest unexplained sounds, and the creeping awareness of time passing.
Ultimately, 2:22 A Ghost Story succeeds because it is not really trying to scare its audience traditionally. Instead, it plays with uncertainty, asking viewers to decide what they believe and how far they trust their own senses. And let’s be honest, you might find yourself thinking what might happen if you were still awake when the clock strikes 2:22.
Running until 16 May at the Leeds Grand Theatre and Opera House - tickets available here.
Declan Kelly -
5th March 2025 
