The Woman in Black

The Woman in Black, adapted from Susan Hill’s novel, is a theatrical experience that has gripped audiences worldwide, and it’s easy to see why. The current staging at Theatre Royal Sydney, directed by Robin Herford (Associate Director, Antony Eden), featuring John Waters and Daniel MacPherson, is no exception to this spellbinding tradition. 

Set in a remote English town, the play follows a young lawyer named Arthur Kipps (Waters) as he unravels the eerie secrets surrounding the mysterious Woman in Black, drawing viewers into a world where the line between the living and the dead blurs. A dreadful secret Kipps has buried throughout his life must come to light. Secrets don't stay buried forever, as the audience soon discovers. 

Waters delivers a masterful performance. The terrible grief is at the heart of his performance, and his depiction of a man grappling with past traumas and supernatural encounters is spellbinding and disturbing. As The Actor, Daniel MacPherson provides a dynamic counterbalance, bringing enthusiasm and tension that bursts open the story and lets it seep into the audience. Their chemistry is divine; the audience remains enthralled and on edge throughout the performance. They work hard, and the payoff is sweet; they hold the audience on a knife edge, not a sound or rustle in a full house. They are phenomenal.

The minimalist yet ingenious staging intensifies an eerie atmosphere. The set, primarily composed of utilitarian elements like wooden furniture, trunks, and drapery, transports the audience back to the Edwardian era. Staging elements are rearranged seamlessly with props to serve various scene requirements. With a gloomy and imposing mansion, a hidden room, and a locked door, the manipulation of props and settings aids in visual storytelling, heightening the suspense and connecting the audience intimately with the unfolding drama.

Lighting is pivotal in crafting the spine-chilling ambience of The Woman in Black. The use of shadow and light, orchestrated by the deft hands of the lighting designers, creates a sense of dread and anticipation. Dim, flickering lanterns, sudden blackouts, and stark contrasts drive the eerie story to its chilling end. The interplay between darkness and light frequently catches the audience off-guard and provides several jump scares as the supernatural elements are emphasised.

The production excels in its use of practical effects. Sudden loud noises, eerie music, and ghostly whispers are used sparingly but effectively to shock and haunt the audience. The sound design, carefully synchronised with the actors' performances, underscores dramatic moments and magnifies the fear of the visitations. These elements are harmoniously integrated, ensuring they complement rather than overshadow.

A hallmark of The Woman in Black is its ability to immerse the audience in the story, blurring the lines between spectator and performance. The actors frequently break the fourth wall, drawing the audience into their nightmare. Waters and MacPherson’s compelling performances make the viewers feel as if they're part of the unfolding horror. The proximity of the action, coupled with the intimate setting of the Theatre Royal, creates an atmosphere of personal involvement. The strategic placements of sound and spectral appearances within the theatre space deepen this chilling effect, leaving no corner safe from the haunting presence of the Woman in Black. 

The Woman in Black, as presented by PW Productions, Woodward Productions and Neil Gooding Productions testifies to the enduring power of well-crafted terror. Meticulous staging, lighting, and practical sound design, coupled with stellar performances from Waters and MacPherson make the production succeed in delivering a genuinely terrifying and immersive experience. For fans of theatre and horror alike, this rendition of The Woman in Black is not to be missed. It’s 5-star spinetingling chills and thrills.

Nicole Smith

Photographer: Justin Nicholas