Festival Theatre, Malvern – until 11th November 2023
Reviewed by Courie Amado Juneau
5*****
So, it turns out The Woman In Black isn’t about Johnny Cash’s wife after all! It is, however, the most chilling, effective ghost story I’ve ever had the pleasure to catch live (so to speak)!
Arthur Kipps almost apologetically shuffles onto the stage to read his transcribed tale of terror. He’s secured the services of a professional in the hope that in delivering it publicly the horror will be laid to rest. Soon The Actor interjects with some helpful advice on stagecraft and these opening exchanges between the two (there are but two named cast members) show wonderful comic sensibilities in spades.
Malcolm James (Kipps etc.) – gave us an array of intriguing and believable characters, from the opening ineptitude of Kipps acting and growing confidence of delivery, to every other character that Kipps the younger will meet in the retelling of the tale. James’s range was astounding and I particularly admired the many seamless, subtle shifts in mood, making one marvel at his acting skills and stamina (given the rapid costume changes and running to a fro).
Mark Hawkins played The Actor and Kipps the younger (from the early years re-enactment). From the opening commanding stage presence to the more subservient junior role in a legal firm to the gradual descent into madness caused by the events of that house – his acting was nothing short of utterly compelling. I was (very aptly) spellbound by both actors and on the edge of my seat (when not jumping off it)…
…which seems like an apropos point to mention this is possibly the jumpiest piece of theatre I’ve ever seen. It’s a good job that popcorn wasn’t served in buckets otherwise the theatre staff would be hoovering the rafters from now until next Halloween to retrieve it!
It’s amazing to see how many different locations were wrought from the same space – a graveyard, an entire house, a foggy moor, offices, the theatre – using just a few props and some lighting! Kudos to Lighting Designer Kevin Sleep for producing such wondrous transformations whilst also providing a gorgeous sunset and sunrise and producing the first major jump (no spoilers). Most importantly, the employment of shadows gave a menacing effect throughout. Genius.
I’d never before seen smoke used to such dramatic (or bewilderingly evocative) effect. It didn’t just sit on stage and drift into the audience – it swept over one, enveloping the senses like an immersive malevolent presence. The shadows birthed all manner of nastiness real and imagined, with an expectation that something horrid would be hidden in every nook and cranny of the subconscious. And here the Sound Designer, Sebastian Frost, deserved an equally large (alongside lighting) pat on the back for pinpoint accuracy of execution!
Just like any good horror, a convincing twist in the tale gave one last genuine surprise just when you thought you had survived the emotional onslaught and could relax.
An exceptionally clever script, muscular direction (from Robin Herford) and top drawer acting all combined to deliver a ghost story that will stay long in the memory (and heart, once it’s out of your mouth). I’ve never had so much fun having the wind put up me and cannot recommend The Woman In Black highly enough. Scarily good!