Woman in Black
Go Bump in the Night
The Woman in Black
by Susan Hill, adapted for the stage by Stephen Mallatratt
PW Productions at Richmond Theatre until 29thNovember, then on tour until 26thApril 2026
Review by Heather Moulson
The audience at Richmond Theatre is filled with trepidation and auditorium filled with a sea of school uniforms, as the curtain goes up on a misleadingly barren sloping set and a theatre props hamper. The reticent Arthur Kipps begins to read out from his diary about a traumatic and life-changing experience. His co-star, The Actor, is determined to bring out the underlying horror lurking behind the flat delivery and succeeds with unforgettable results.
Arthur Kipps, played by John MacKay, is engaging, but initially rather unforthcoming until he relaxes into his Scottish persona. Whether this is from the exuberance of youthful anticipation in the auditorium or that the character has yet to emerge isn’t clear. The Woman in Black being on the curriculum in schools, a young audience was inevitable but like the rest of us, they were drawn in from the start. However, MacKay excels as he variously portrays many characters.
The Actor, played by the vibrant Daniel Burke, has the edge of this two-hander as the character is consistently shrewd and sharp, and later, genuinely frightened. So are we, and with good reason! Unnerving lighting designs by Kevin Sleep create incredible shadow effects and blackouts, and the impact of Sebastian Frost’s original sound track (often of trains) is also used economically. Both build up genuine tension that takes us to a point of no return. Thick mist cleverly spreads over the stage and outwards towards us, which makes the remote and abandoned house effectively appear believable.
The Woman in Black herself, sadly uncredited, has quite literally a haunting stage presence, seeped with malevolence and a strong sense of pace. Her apparition appears just enough to put us on the edge of our seats. Nothing is overdone and the horror is subtle. I had seen this production in the West End in 1990 and time had only made this piece stronger. It is not hard to see how it is the second longest running play in London.
With flawless inevitability, the sparse set becomes a scene of horror, particularly the upstairs. A tangible build-up and anticipation crackled in the theatre. The second act just has the edge in its intensity and brutal climax. There is a terrifying nursery room filled with eerie detail. Otherwise, Michael Holt’s effective and simple set carries an abundance of atmosphere and trepidation.
John MacKay and Daniel Burke worked with each other well in this gritty text, and I am very glad the Woman in Black also takes a curtain call, as she plays a vital role in this adaptation by Stephen Mallatratt from Susan Hill’s novel.
Directed in great detail by Robin Herford. The Woman in Black is an intricately thought-out play within a play, and is a triumphant production.
Heather Moulson, November 2025
Photography by by Mark Douet
Mark Aspen 