Book by Susan Hill. Adapted by Stephen Mallatratt. Directed by Robin Herford
A production that lives up to its ghostly reputation, this is one to let your imagination run wild with and venture into its spooky storytelling and genuine thrills
Reviewed by Justin Clarke
Theatre Royal, Sydney
Until 17th August, 2024
Tickets: https://thewomaninblack.com.au/
After running for 33 consecutive years on the West End, Stephen Mallatratt’s adaptation of Susan Hill’s The Woman in Black has been unleashed to go on tour. The play brings with it a classical ghost story that is filled with genuine spooks and thrills, relying on its simplicity and masterful acting to imbue imagination into its audience.
As a lover of all things spooky and horror, I was itching at the chance to see this long-running play in its spooktacular entirety. Thankfully, the experience did not disappoint.
The longevity of The Woman in Black can be whittled down to the simplicity in which it is performed. A two-hander ghost tale that relies on the narrative storytelling from its actors, and an effective sound system paired with lighting that creates blood reds and dark shadows, bringing to life the mysterious tale of The Woman in Black and her hauntings in Northern England.
The Woman in Black, Sydney Theatre Royal (2024). Images by Justin Nicholas
Hill’s The Woman in Black follows the tale of Arthur Kipps (John Waters) a lawyer who is obsessed with relieving himself of a curse that he believes to have followed him from his visit to Crythin Gifford many years ago. He employs the skills of a young actor (Daniel MacPherson) to tell his tale and in doing so exercise the ghost from his memories. As they delve deeper into the depths of the Woman in Black’s story, they find themselves entering a realm of ghost stories from which they may never return.
Both Waters and MacPherson deliver a masterclass in theatrical storytelling, with Waters donning a variety of hats and accents to take the shape of narrator and the many characters with whom Arthur Kipps met during his time on the marshes. MacPherson takes on Kipps’ story, leading us through his misguided visit to Crythin Gifford, and the funeral of Mrs. Alice Drablow, the woman of who’s estate he has been employed to settle.
But the real question we come to is simple: Is The Woman in Black genuinely scary? In a word, yes.
The setting of the piece itself provides an aged air in which the storytelling makes sense. The Actor tells Kipps that the audience will be transported thanks to the introduction of recorded sound to bring to life the marshes, the horse and cart, and the screams of the ghostly figure amidst the darkness.
Michael Holt’s set design paired with Kevin Sleep’s lighting provides a near blank stage, with dilapidated curtains which instantly become see-through when the stage is smothered in darkness. Behind, the silhouettes of covered furniture and large archways give the stage an expansive nature. It seemingly could go on forever.
But the real question we come to is simple: Is The Woman in Black genuinely scary? In a word, yes. Rod Mead’s original sound design, as well as Sebastian Frost’s new additions provides genuine jumpscares amidst prolonged silences. The screeching of a ghostly figure echoes among the expansive mansion, whilst a dull thudding sound heightens your senses among the theatre. Then there’s the simple scares: the face of a haunting figure is illuminated from torchlight as Kipps explores the mansion, The Actor yells as he wakes from a nightmare. It extracts genuine collective laughter after the release of tension.
The success of the production relies solely on two things: the richness with which the two leads imbue the story, and the audience’s ability to imagine.
The success of the production relies solely on two things: the richness with which the two leads play out the story, and the audience’s ability to imagine. The utter joy from the piece comes when you can hear the audience around you become more and more involved. Whispers of, “don’t go in there!” are uttered when a seemingly locked door becomes creepingly open, gasps and awes are extracted when the Woman in Black makes her first appearance in the dark; it’s collectively joyful fun!
What’s not expected when first entering The Woman in Black is how genuinely funny the production is. The silliness of seeing Waters warm up to being taught how to act from The Actor lulls the audience into a false sense of security. The naturalistic comedy at the start guides us in with a soft hand, before slowly turning cold and grey and we find ourselves trapped in a true tale of horrors.
The Woman in Black lives up to its ghostly reputation in abundance, providing a two-hander performance that is thrillingly tense and laugh out loud funny at the same time. This is one to put your brave face on and let your imagination run loose, just keep an eye out lest you see The Woman in Black in the dark.
CAST & CREATIVES
John Waters Arthur Kipps
Daniel MacPherson The Actor
Mark Doggett Standby Arthur Kipps
Matt Holly Standby The Actor
Creatives
Robin Herford Directed By
Antony Eden Associate Director
Michael Holt Designed by
Kevin Sleep Lighting Design
Rod Mead Original Sound Design
Sebastian Frost Sound Designer
Producers PW Productions
WOODWARD PRODUCTIONS
Alex Woodward
Claire Dix
NEIL GOODING PRODUCTIONS
Neil Gooding
Georgia Putt
