Brighton Year-Round 2025
The Woman in Black
PW Productions Ltd
Genre: Adaptation, Drama, Horror, Mainstream Theatre, Theatre
Venue: Theatre Royal Brighton
Festival: Brighton Year-Round
Low Down
It’s back. Two-and-a-half years on, Brighton’s Theatre Royal hosts the swirl of a fret that’s haunted theatre stages for 38 years. Susan Hill’s 1983 chiller The Woman in Black was swiftly adapted by Stephen Mallatratt in 1987 before the slightly more detailed version emerged in 1989, alongside a TV film the same year; and a feature film in 2012.
If the genre suits, don’t hesitate. It’s as fine a touring production as you’re likely to see. This is still a classic chiller, and with the sound, lighting and dramaturgical update it’s clear The Woman in Black intends to chill us long into this century too.
Till November 22nd and touring.
Review
It’s back. Again. But not quite as it was. That’s all I’ll say. For now. Nearly two years on, Brighton’s Theatre Royal hosts the swirl of a fret that’s haunted theatre stages for 38 years. Susan Hill’s 1983 chiller The Woman in Black was swiftly adapted by the late Stephen Mallatratt in 1987 before this slightly more detailed version emerged in 1989, alongside a TV film the same year; and a feature film in 2012. It’s still directed by Robert Herford with the same team at Theatre Royal till November 22nd.
Currently it’s only behind The Mousetrap as the longest-running West End play (till 2023). But in 2024 with the West End run closed it was rethought, relit and with a tellingly more effective sound-design too. Other subtle choices in the dramaturgy freshened it. In 2025 this has been amplified even more. Effects – sound and fog – and the interaction of The Actor and Arthur Kipps are sharper. There’s additional voices. It’s scarier and there’s more storytelling.
Has it dated though? Mallatratt’s brilliance is in conjuring the haunted man Arthur Kipps thirty years after the main events, the theatrical comedy, and his choices. Now about 60, he’s hired The Actor to help him re-enact and exorcise those events which he himself has written in the frame of a friend badgering him for a Christmas ghost story. “They have asked for my story. I have told it. Enough” are his script’s last words. But.
Rewind. Previously Assistant Director Antony Eden also took the part of the Actor. Now Daniel Burke, a very active Actor is exasperated by the man who’s hired him and learns how to tell Kipps’ story. Kipps at first resistant and prone to snatch back the script and give up, repeats the intro four times to screaming point. No: the audience will never take it. Five hours has to be boiled down.
Actor suddenly gives Kipps a pair of spectacles, a bit like the late 1960s Gerry Anderson Joe 90 and he’s transformed of course. Fine comedy’s contained in this maladroit theatre business and John Mackay is superb at playing it.
Suddenly Actor’s Kipps and Mackay all other parts. Eventually they share the Kipps role.
In 1921 young Arthur Kipps a junior solicitor agrees to act for the senior solicitor of his firm, and attend the funeral of one Alice Drablow, who’s died at 87, long-widowed and unlamented. Then go through all her voluminous papers. Even the local solicitor won’t help him go to the house where only one driver and one landowner are of any help at all. Kipps sees the Woman in Black. The first appearance seems a portent far earlier. Everyone in the town is terrified of anyone venturing to the house; the local solicitor Jerome too.
Herford takes a deliberately slow-winding pace, with assistant director Antony Eden, the apparently simple designed by Michael Holt suggests the theatre we’re sitting in, nominally empty. A diaphanous partition has its uses. The grey floorboards, the hamper, a coat-rack stage right and a simple writing desk and chairs furnish all the storytelling up front.
Lighting Design Kevin Sleep has much to do and has – even more than 2024 – rethought much from the tour here in 2021, which decidedly creaked. First as theatre technician Bunce, then the roomy effects, with marsh-lit depths. Original sound design by Rod Mead has been updated by sound designer Sebastian Frost to lend further depth everywhere in the theatre. The Production Manager’s doubled: Simon Reynolds is again joined by John Page. Everything’s sharper.
The querulous Mackay with his gallimaufry of accents – and sudden kick into gear – is first-rate. He’s the best Kipps (et al) I can remember seeing. Burke manages to convey that rather wannabe heroism in a young actor not quite mature enough to know he’s occasionally hamming, though distinctly promising. It’s a subtle performance underneath the braggadocio. Burke is occasionally just a little more prone to barking than his predecessor. Overall though he’s more appealing too. Thrusting with the bit between his lines Actor’s eager to see what surprise Kipps will spring. He’s full of compliments when Kipps does.
Those who’ve not seen it – though read the novel and/or seen screened versions – will be surprised at Malatratt’s imaginative version. Creaks now occur only when they’re meant to. The interval comes at a different point. The horror side elicits shock – and a few giggles. Again, no spoilers. Ultimately it’s the acting that impresses. That’s why it’s so highly recommendable.
If the genre suits, don’t hesitate. It’s as fine a touring production as you’re likely to see. This is still a classic chiller, and with the sound, lighting and dramaturgical update it’s clear The Woman in Black intends to chill us long into this century too.
Casting Helena Palmer, Production Carpenter Adrian Emmerson, CSM Nick Titley, DSM Christina Cornelisse, ASM/Book Cover Mathilde Reynolds, Sound No. 1 Jack Cowlam, Production Photography Mark Druoet.
