A Ghost In Your Ear is the new play from Jamie Armitage, the writer/director of 2025 sell-out hit An Interrogation. Made in collaboration with Ben and Max Ringham (ANNA, National Theatre and Blindness, Donmar Warehouse).
Read our Q&A with Jonathan Livingstone
Q: A Ghost in Your Ear uses binaural sound to create an immersive “headphone horror” experience. What is it like performing in a production where sound plays such a central and intimate role?
Jonathan: This play is really unique, as we have complete control of what you hear and what you see. I always forget how much we depend and rely on what we hear and take a lot of it for granted and so when that is being played with, it becomes very disorientating.
Q: You’ve worked extensively across Shakespeare’s Globe, the National Theatre, and the Young Vic. How does this project compare to your previous stage work in terms of preparation and performance style?
Jonathan: Working in any studio space has an intense intimacy towards it, and it feels less epic and especially with this set, which becomes even more in focus as you’re being shown what to look at. The only thing that changes in this instance is vocal performances, we are being amplified and the audience are listening to us with headphones. So, trying to find that vocal quality that sounds realistic is what we are balancing.
Q: The show is described as “a haunting experience straight into your headphones.” Without giving too much away, what kind of atmosphere or emotional journey can audiences expect?
Jonathan: This show is a rollercoaster; not only is it dealing with horror. You’re being disorientated, feeling slightly confused, second-guessing yourself and this all adds to the suspense and thriller energy.
Q: You’re sharing the stage – or perhaps the soundscape – with George Blagden. How has your collaboration shaped the dynamic of the story and your character, Sid?
Jonathan: George is a wonderful actor and brings great heart and precision to the part he plays. We complement each other and dovetail with each other so wonderfully that it makes working with him easy and that helps with the relationship and the chemistry that we are developing constantly and playing with on stage.
Q: You’ve been part of large-scale, visually rich productions like War Horse and Romeo and Juliet. What excites you most about working on something that relies so heavily on the audience’s imagination and sound design?
Jonathan: When you see the set, it is still a visually rich one, which has been designed by Anisha Fields. The story is where it really takes off, and there is a lot of audience interpretation, suspending disbelief, and that’s something Jamie has really developed and made with this play. There are still things texturally that I’m picking up which give the play that four-dimensional shape we crave as audiences.
Q: Looking back at your career, from Bridgerton to Cash Cow and The Witches, what moments or roles have most influenced the kind of performer you are today?
Jonathan: It’s going to sound really formage, but every role informs the next, and you take little pieces of what you’ve done before and add that into the cauldron. The more pieces you collect, you add them to another character. And from those pieces that you’ve collected along the way, you have to add in your experience, and then you trust that you can mix that all together, evolve as a human and portray these moments for audiences to relate to – I made that sound very simple, hahaha!
Q: Finally, A Ghost in Your Ear blends theatre, technology, and horror in a unique way. What do you think this kind of storytelling says about where theatre is headed – and what audiences are craving right now?
Jonathan: If anything, it’s going back to basics. It’s a simple story with the best technology you could possibly have and the best creative team you could possibly have, and that’s all theatre has ever been for me. Storytelling with enhancements which is very apt for the world we live in.
HAMPSTEAD DOWNSTAIRS PRESENTS
A GHOST IN YOUR EAR
WRITTEN AND DIRECTED BY JAMIE ARMITAGE
A COLLABORATION WITH BEN & MAX RINGHAM
6 Dec 2025 – 31 Jan 2026
https://www.hampsteadtheatre.com/
