She shocked her fans when she announced she would be the latest celebrity to take on the role of Jenny in West End play, 2:22 A Ghost Story.
Yet Cheryl’s move to acting appears to be paying off, judging by critical reviews for her press night performance.
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Claudia Connell praised Cheryl for her performance, saying: ‘As a sleep-deprived, stressed new mum Cheryl is excellent.’
She added: ‘Her movements on stage are less natural – rather stiff, in fact – and there are times when I miss some of her dialogue.
‘She also speaks with an irritating upward inflection where every statement sounds like a question.’
But despite this, Claudia said that Cheryl ‘rather holds her own in the performance’.
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Dominic Cavendish was full of praise for Cheryl, saying: ‘She proves a class act and – whisper it – is even the most understated player on stage.’
He adds: ‘But when it comes to the claws-out showdowns with Sam, the newbie actress is no novice, bringing something materially nay maritally real to the scenarios.’
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Rachel Halliburton gushed: ‘Cheryl transcends the fact that she arrives on stage pursued by celebrity glitter.’
She adds that the singer is ‘both funny and down to earth as Jenny’ and that she ‘proves herself more than able to ride the emotional rollercoaster.’
Rachel concludes: ‘Cheryl emerges from the ectoplasm with more than the ghost of a chance of taking her stage career further.’
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Arifa Akbar says: ‘Cheryl convincingly plays rattled new mother Jenny’ but adds that co-star Jack Wood ‘is the play’s strongest link.’
She adds: ‘As her own X Factor moment, it is respectable enough for a first go, if blunt-edged: big on volume and sudden, thunderous anger.’
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Nick Curtis calls Cheryl a ‘sensational event, in every sense’ asking: ‘But is Cheryl any good?’ before adding: ‘Actually, yes: certainly good enough to bring a new crowd to this superior, remorselessly effective spine-chiller.’
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Alex Wood says: ‘As for Cheryl, it’s safe to say she puts in an assured debut – sure, sometimes intonation wavers, while her angry outburst can occasionally feel unexpected and one-note (then again, so do most outbursts from those suffering from sleep-deprivation).
‘For the most part, it’ll be a turn that few critics will find major fault with.’
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Andrzej Lukowski says: ‘Pop star Cheryl puts in a perfectly solid acting performance in the latest iteration of the durable West End chiller.’
He adds: ‘The bottom line is she can act enough,’ but that it is not ‘a show-stopping turn’.
He continues: ‘This isn’t an inept or embarrassing performance from Cheryl. She struggles to project times, and the shouty bits feel a bit forced.
‘But she nails her lines, has good comic timing, and generally does her bit supporting the architecture of Robins’s play.’
