The latest adaptation of Susan Hill’s classic ghost story, The Woman in Black, was met with a mix of skepticism and high expectations, which it delightfully exceeded. Initially, the play seemed slow to engage the audience, evident from the restless shuffling, coughing and the sound of sweets being unwrapped that punctuated the first half-hour. Yet, once it found its rhythm, the production unfolded with a gripping intensity.
Stephen Mallatratt’s script masterfully utilizes the play-within-a-play structure, bringing the haunting tale of Mr. Kipps and Eel Marsh House to life. Directed by Robin Herford, the sparse staging demands much from the audience’s imagination— a task it accomplishes with minimalistic yet effective set design and atmospheric lighting.
The heart of the play beats with the performances of Malcolm James and Mark Hawkins, who both demonstrated remarkable versatility and emotional depth. James, in his portrayal of Arthur Kipps and several minor roles, shifted seamlessly between moments of vulnerability and robust theatricality. His comedic timing provided necessary levity amidst the tense narrative. Meanwhile, Hawkins, as ‘the actor’, was a dynamo of energy, mastering the suspenseful silence and driving the story forward to its chilling climax.
Despite the play’s slow start, the creative use of lighting and sound design crafted a palpable sense of dread and anticipation. These elements, combined with the actors’ formidable presence, succeeded in delivering genuine scares and moments of unexpected humour, enhancing the audience’s engagement.
However, the frequent appearances of the Woman in Black while initially startling, eventually diluted the terror she was meant to instill. Here, perhaps less would have been more, allowing for a buildup of suspense that could have made her eventual sightings more impactful.
Overall, The Woman in Black stands out as an exemplary piece of horror theatre. It showcases how effective storytelling, committed performances, and creative stagecraft can evoke a cinematic level of horror and suspense. The result is a compelling theatrical experience that not only entertains but leaves a lasting impression, earning it a well-deserved ovation from an audience moved by fear and fascination.
Grand Opera House: until Sat 18 May 2024
