The Woman in Black – Milton Keynes Theatre

Writer: Susan Hill

Adaptor: Stephen Mallatratt

Director: Robin Herford

Based on the 1983 novel by Susan Hill, The Woman in Black has become a modern British classic as any GCSE Drama student can attest. Following a successful West End run over more than 30 years, the show is embarking on a national tour. With all of the conventions of the classic gothic tradition, this show will leave you suitably shocked throughout.

The story follows Arthur Kipps in what is a sort of a play within a play structure. Kipps has employed an actor to help him bring his tale to life. This becomes apparent when the young actor rudely heckles from the back of the audience in a very Brechtian breaking of the fourth wall. As the show goes on, the two merge techniques to propel the story along.

The Actor, (Mark Hawkins), takes on the role of Mr Arthur Kipps as Mr Kipps (Malcolm James) proceeds to play every other character in the story. James gives a flawless masterclass in characterisation as he flits from character to character. Each transition is truly a metamorphosis as he adapts his stance, gait and voice to fit. This show lives and dies on the dynamics of the duo at the helm and thankfully they are excellent.

Together, they build a story with impenetrable mist, deathly quiet moors, and the terrifying story of the “old ladies” living in the town. It is difficult to elaborate further on the plot of this show without revealing spoilers, therefore the narrative description is best parked there.

The cast performs with gravitas and Robin Herford has put together a tightly wound show. Their use of physicality and the constant toying with the dynamics of their vocal delivery leaves you hanging on every word. With the nature of this story and the inevitable building of suspense, it is only proper that the set be considered a character in and of itself.

Michael Holt’s set is deceivingly simple, consisting primarily of an inverted wooden floor and some rather weathered drapes. The narrative takes place in the rehearsal room of a theatre and so the faded grey drapes provide context amongst the sparsely populated set pieces such as the large wicker basket and the doors to either side of the wings. Holt’s choice to use the drapes as a gossamer screen is inspired and it creates some truly captivating theatrical moments. Similarly, Rod Mead and Sebastian Frost’s sound design has taken a leaf straight out of the orchestration playbook. The audience is choreographed through a figurative tango of emotions as the music creeps, builds and crescendos on each narrative beat. The music works almost subconsciously to heighten each audience member’s nervous system and does so with laser focus. The only minor criticism would be the silence over the low fogger as the mist of the moor creeps in as the noise from the blast is a little jarring to the dramatic tension that has been built.

Talking of dramatic tension, Kevin Sleep’s low moody lighting is the perfect accompaniment to a show such as this. The dim light from the torches and candles toy with the dimensions of the stage, leaving the audience in a heightened sense of alertness, always believing that they can see something move from the corner of their eye. In a sequence about a door at the top of the stairs, the lighting really takes centre stage. Shadows are projected onto the gossamer screen drape giving the impression that Arthur is being stalked. This alone would be enough to send shivers up the spine of every viewer but when Arthur emerges on the blackened stage with a single beam of weak torchlight an audible drawing of breath can be heard across the auditorium. Sleep could have left the design there and called it a win, but the intensifying saturated burnt orange light on Arthur Kipps as he approaches the doorway is both visually spectacular and sickeningly scary to watch. Herford’s creative team have created a slick piece of theatrical magic in this show that you simply do not want to miss.

The Woman in Black is delivered in a way that feels quite old hat in today’s theatrical landscape but it is a masterclass in the delivery of classic theatrical techniques. The show does carry an age rating of 12+ and there are definitely some jump scares. But if you have the constitution, this show comes highly recommended.

Runs until 6 April 2024 and on tour