Running for over 25 years to full, engrossed audiences, The Woman in Black is a blue print for the school of if-it-ain't-broke-don't-fix-it theatre. By combining simple theatrical effects and the imagination of an eager audience, this classic ghost story delights despite its shiny, effect-laden big screen adaptation a few years ago.
Solicitor Arthur Kipps (Malcolm James) needs to tell the story of events that affected him when he visited the small market town of Crythin Gifford to tidy up the affairs of Mrs. Drablow, a solitary woman who lived alone in Eel Marsh mansion for over 60 years and whom none of the locals dare speak of.
Enlisting the help of a young actor (Matt Connor) they re-enact past events gradually revealing a sad history, the secrets of Eel Marsh and the legend of the ghost that haunts it with her dreadful purpose.
Stephen Mallatratt’s adaptation of Susan Hill’s novella creates a chilling live action thriller that grips the audience from the early moments of humour at Kipps' inadequacies in performing, through to the dark, unveiling of the tragic story at its heart.
The story’s Victorian eeriness envelopes you in the twists and turns of the action, beautifully directed by Robin Hereford and intensified by Michael Holt’s grubby, gauzy design. Matt Connor provides a slick actor in the cornerstone role as we relive with him the horrors inflicted on Kipps, while Malcolm James effortlessly hops between characters encountered on the journey, as well as building tension as he watches from the wings becoming more nervous as the story progresses.
The true stars of this production are those behind the scenes - lighting and sound designers Kevin Sleep and Gareth Owen. Usually tech get arbitrary mentions for a job well done on enhancing a show, while The Woman in Black relies on tech with half-light, timed stage actions, heavy silence and spine-tingling sound effects executed magnificently with chilling outcomes for a tense audience who delight in the frights.
The only marring moment is the final appearance of The Vision. With so much clever stage work in shadow and grasped sightings of her adding to the fear, the final overexposed, dramatic pose loses the eeriness and intrigue of the tragic black figure.
Nevertheless, this is a magnificent production that should be experienced live to truly appreciate how clever it is at its simplicity to scare the bejesus out of you.
King’s Theatre, Edinburgh, until Sat 18 Apr 2015
then:
Theatre Royal, Glasgow, Mon 20 Apr to Sat 25 Apr 2015
Alhambra Theatre, Dunfermline, Mon 29 Jun to Sat 4 Jul 2015