Jonathan Livingstone stars in A Ghost in Your Ear, the chilling new horror play by Jamie Armitage, opening at Hampstead Theatre Downstairs. This innovative production uses binaural sound to immerse audiences in a terrifying auditory experience.
Livingstone plays Sid, one of two characters in a story that blurs the line between fiction and reality. As the horrors of a ghost story begin to haunt the recording studio, the audience is drawn deeper into the suspense.
The world premiere of A Ghost in Your Ear runs from 6 December 2025 to 24 January 2026, with press night on 8 January. Tickets are available here.
You’re starring in A Ghost in Your Ear at Hampstead Theatre, what can you tell us about the show?
A Ghost in Your Ear is an exploration of how we hear as humans and, using that knowledge via a ghost story, flips you upside down and inside out so you can’t trust your senses.
What drew you to the role of Sid, and how did you prepare for this unique headphone horror experience?
I reached out to Jamie (Armitage) and stated I was up for playing using binaural sound. Jamie said that it would be a collaboration and whenever I hear that word, I’m there in a heartbeat.
There is no set way to prepare for a part for me. With this play in particular, I have had to relearn how I hear whilst using the binaural microphones. They are so sensitive that even a gentle rub of a shirt could sound like a wave crashing over you.
The play uses binaural sound to immerse the audience, how does that affect your performance and connection with the audience?
If anything, it adds another layer to being with the audience.
What is being fed to the audience is controlled, so shaping the story is finely tuned. As performers, we have a bigger range to play with, as we know one of the senses (hearing) is being well looked after.
What has it been like working with George Blagden and Jamie Armitage on this production?
Watching George work is wonderful. The rigour, heart and dedication he brings is second to none. He has such an amazing ability to bring stories to life with clarity and great dexterity.
Jamie is someone who has clear direction and allows the actor to find their way through the text by encouraging us to play and discover the outer boundaries of the script. Jamie wrote the play so we have access to unpicking every detail the writer has left us.
Also, that means I can bug him to make some of my lines more funny.
Horror on stage is rare, what do you think makes A Ghost in Your Ear stand out in the genre?
The fact that we have complete control over what you hear and how you hear it sets this apart from many things.
In rehearsals, I’ve been tricked so many times and that is so disorientating because we trust what we hear more than we think.
What would you say to anyone thinking of booking to see A Ghost in Your Ear?
Come on down. There will be moments that you’ll second guess what you’ve seen or heard and that is a thrill many of us are seeking in live theatre.
