When you picture a quintessential ghost story, complete with all the familiar tropes – an isolated mansion, a vengeful ghost, and some well-timed midnight screams – The Woman in Black inevitably comes to mind. Adapted by Stephen Mallatratt from Susan Hill’s 1983 novel, this notorious tale has long haunted the West End, and has finally crept its way to the Sydney stage.
Starring Aussie television mainstays John Waters (Offspring, Doctor Doctor) and Daniel MacPherson (Neighbours, Land of Bad), this a play-within-a-play is directed by Robin Herford, who has been involved since the show's inception in 1987.
This adaptation whittles the book’s original character list down to just two. It opens with an ageing solicitor, Arthur Kipps (Waters), who attempts to recount his story about the eerie Eel Marsh House. His sombre, poetic prose is on the dreary side, but thankfully, the performance is saved when a young actor (MacPherson) steps in – playfully urging Kipps to “have sympathy for your audience”. What follows is a layering of past and present, as our narrator's memories tangle with The Actor’s dramatisations in an interplay between reality and re-enactment.
The Woman in Black is a classic for a reason, and the chilling story is told with masterful craft by MacPherson and Waters
In their dual-role performances, MacPherson and Waters command the stage whilst giving space to the sinister supernatural role of the tititular "Woman In Black" – whose motion and face (though seen sparingly) are strikingly haunting. MacPherson delivers a cheery performance as The Actor, while Waters brings a charm to Arthur Kipps, deftly balancing humour and playfulness against the play's otherwise sombre tone. MacPherson’s psychological unravelling, while present, is somewhat subdued – perhaps too subdued for the toll that his circumstances would presumably take.
Though the first half is at times difficult to follow, the play hits its stride after the interval, shifting away from its earlier comedic tone and ramping up the macabre – foreshadowing the chilling turn which rounds out the plot in the final scene.
The simplicity of the classic horror tropes employed – choking fog, a rocking chair, and doors groaning on their own – maintains a nail-biting tension. The Woman in Black herself appears sparingly, but her presence is felt throughout as a shadowy, looming threat. At a few points, she appears with striking immediacy on stage – and I defy anyone not to jump in their seat. Though jump scares can seem overt, here they’re deftly deployed – maintaining the suspended, looming fear that undergirds the atmosphere of the play.
The set design is appropriately pared back, with a foreground that’s as versatile as items from a French wardrobe – chairs transform into train seats, and a wicker chest becomes a bed or a horse-drawn carriage. In contrast, the background bolsters the Victorian-gothic aesthetic. Kevin Sleep’s lighting design transforms the stage from daylight to the eerie marshes of early morning. This minimalist approach, a hallmark of the play’s many adaptations, relies on sparse set pieces, strategic lighting and sound design to let the audience’s imaginations fill in the blanks. It’s both a strength and a limitation.
For those familiar with ghost story conventions, the plot twists and jump scares might feel somewhat formulaic. Still, The Woman in Black is a classic for a reason, and the chilling story is told with masterful craft by MacPherson and Waters – whose characters' fates will stay with you long after you’ve left
(This review was originally published in June 2024 on Time Out Melbourne for the premiere season. Alterations have been made by Winnie Stubbs based on the Sydney performance.)
The Woman in Black is playing at the Theatre Royal Sydney until August 17, 2024. Tickets start at $59+bf, and they’re on sale over here.
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