Stephen Mallatratt’s stage adaptation of Susan Hill’s horror novel proves that a well-told story doesn’t need big production flashy gimmicks to delight an audience
The collective giddy anticipation of Christmas in combination with being frightened out of your skin might seem an unlikely pairing, but Stephen Mallatratt’s adaptation of The Woman in Black shows how undeniably enjoyable such an atmosphere can be. The Playhouse in Liverpool has chosen to host the classic play this year for its festive period, playing to packed audiences of young and old. I was one such audience member this week, shuffling in out of the harsh wind and rain alongside the other shivering counterparts with the hopes of being chilled and thrilled by the evening’s theatrics. And cold we remained once inside! Coats, scarves, mittens and wooly hats remained firmly on once seated and persistent sniffles could be heard throughout from us audience members. I thought that surely making the theatre chilly was a directorial choice to contribute to a spooky atmosphere, but when you find yourself persistently distracted from the happenings of the stage wondering why it’s so bloody cold I’m not sure if the intended outcome is achieved.
However, I digress! The play is adapted from Susan Hill’s 1983 novel of the same name and has been a presence in theaters since 1987.
Actors Malcolm James and Mark Hawkins make up our double act as Arthur Kipps, an elderly lawyer wishing to be released from fears of a dreadful curse he believes has haunted his family, and the unnamed young actor he hires to help him act out his memories of the awful experience at Eel Marsh House in the eerie Gothic market town of Crythin Gifford. We’re introduced by a comic scene of Kipps sheepishly attempting to read the opening of his recollections while being bolstered by the effervescent young actor character. The two gradually warm to each other, and with the actor’s cues and instructions, Kipps loses his nerves and becomes skillfully adept at playing his story’s many characters. The pacing is slow but steady, as we gradually learn that the root of this terror is attributed to the haunting presence of a woman dressed in black.
The staging is kept at a minimum; tattered dirty curtains, a coat rack and a wicker basket are heavily relied on, but this doesn’t hinder proceedings due to the play’s vivid storytelling. Expect great soundscaping, heavy smoke, creepy shadows, and excellent use of dramatic lighting. We were often plunged into complete darkness and left there to stew in anticipation and nervous giggles only to then have illumination from only a shakily-held torch or a spotlight from above to great atmospheric effect. The several ‘jumpscare’ moments throughout were nicely paced and did the trick in terms of shaking us all up.
The play’s climax was definitely foreseeable, however, but leaves you feeling unsettled and shaken. I thought that the play’s final concluding lines fell somewhat flat, and rather than concluding with a bang, went out with a little bit of a whimper. As a live theatre experience, The Woman in Black was certainly enjoyable. I think that it’s few lacking aspects of it could certainly be tweaked, but I would recommend you go along and see for yourself.