'The Woman in Black' Onstage

"Everyone has that friend who is entirely unfazed by almost anything; spicy food, horror films…it doesn’t matter! In our group, it’s you, Rhys!" -my flatmates, 2018.

One of my favourite things about being a student is that I get to live with some of my closest friends (washing up scheduling aside)! Friends are obviously some of the first people with whom you would swap and share each other’s passions, hobbies, and interests! This is especially the case in a group of student flatmates; living together as a family while you study your interests. This sharing even happens in your leisure time! My sports friends will tend to eagerly lead us to the bowling alley on weekends, or to the nearest pub with a snooker table, for some keen, fun competition. Me? I love a pint—and when I can cheekily win the games—but I’m the artsy, social friend, so I’m in my element when we're collectively enlightening our cultural awareness…or just when I’m trying to stretch my mates' discomfort thresholds with a flaming meal or horror film; as the "Scary Spice" as you will have seen my friends advertise me in my opening quote!

My current mischief involves planning a group trip to the theatre to allow my friends the opportunity to have their adrenaline levels rocketed, as mine have several times before; in the experiencing of what is my favourite piece of Drama: The Woman in Black.

The most popular and recognised version of this story may be James Watkins’ 2012 screen adaption of Susan Hill’s horror novella, which saw Daniel Radcliffe face off against she-who-must-not-be-named herself in his first role since concluding his performance in the ‘chosen one’ in the Harry Potter franchise. However, time has failed to exorcise the chilling atmosphere of Stephen Mallatratt’s theatrical telling of the story, which reached its 30th birthday last year, making it the West End’s second longest-running non-musical play in history, following The Mousetrap.

For those who have not yet had a close encounter of this tale’s kind; standard to most Gothic adventures, The Woman in Black follows a young lawyer, Arthur Kipps, as he travels to the Northern English village of ‘Crythin Gifford’ to tend to the affairs of his firm’s late client Alice Drablow, at her former home—the island-isolated Eel Marsh House. After some time at the house, with its tensely eerie atmosphere, Kipps learns of the veiled spirit he had disturbed with his arrival, and of the very unveiled threat of her vengeful penchant to bring peril. It is, quintessentially, the classic ghost story, including a daringly naïve protagonist, a spooky house, and a terrifying supernatural antagonist with a well-knitted backstory.

It may be initially surprising that the play’s style is actually fundamentally minimalistic, given the that the story is a Gothic, period-paranormal piece, but this play does not need reels of 4d special effects to make the chills ‘jump out of the screen’.

A quick drama theory lesson from me will help to illuminate this…

The style of the production lends heavily from the philosophy of German theatre pioneer, Bertolt Brecht. Brecht worked primarily in times of rising and outright Nazi dominance. He had a great attention to propaganda, and how his work could be used to counter this, and fix distorted views around society. The style which he developed as a result (termed as Political or Epic theatre) is one which not only aimed, firstly to not trick audiences with illusions of pomp and grandeur, but then further aimed to show an artistic, truthful, bareness through theatre. Audiences were not made with classic red velvet curtains, wild costumes, grand set, or exaggerated performance, but were actually often shown the ‘organs’ of theatre, perhaps openly seeing aspects which otherwise be reserved for offstage. This, at first may have been unexpected or alienating, but would ultimately inspire audiences further consideration, and allow them to make their own decisions on the issues which would be introduced to them within the work. In terms of this play, the style naturally encourages us to subliminally use our imagination to almost "fill in the gaps" of the things which we aren’t given. This keeps our imagination working throughout the show, and overworking at times, ensuring that we are constantly on the edge of our seats, not knowing when we should be relaxed or expecting a scare!

“She never forgives. She always comes back. There is no escaping the woman in black.”

Just like the ghost, the play does never stop running, it always comes back, there is no escaping the Woman in Black…literally…it’s back around in almost every city almost every year! So, whether you’re a big theatre/Arts lover, or just a seeker of some spine-tingling supernatural scares, this play is one which definitely will not disappoint! While watching, the play will very successfully show of its sheer cleverness, and keep you—while the scares may lead you to cover your eyes—peeping through to admire its brilliance! If you love horror and would like to experience not having the safety of the cinema screen, find your tickets for the next running near you…if you dare, of course!