Student Voice Review: The Woman in Black
Mary Shelley, in the Author’s Introduction to the 1831 edition of her life’s work, ‘Frankenstein’, said the novel was meant to “speak to the mysterious fears of our nature... to curdle the blood, and quicken the beatings of the heart”.
This statement reflects the universal intentions of the most famous Gothic writers to this day. Perhaps my nature was not questioned during the performance of ‘The Woman in Black’; however, I can confirm my heartbeat did indeed quicken.
On the 28 January, EHS’ English Department kindly accompanied the Sixth Form Literature and Lit-Lang students to The Alexandra Theatre to watch ‘The Woman in Black’ by Susan Hill, this version adapted by Stephen Mallatratt.
Upon entering, we encountered a barren stage, unsettling within itself. A few simple props seemingly scattered yet intentionally placed: a large rectangular basket, a wooden stool and chair, a rail with hangers holding coats and hats. This theme of minimalism is reflected throughout the play, itself notable for only two actors performing the entire piece.
Yet, utilising clever lighting, special effects and sound, it is easy to become immersed in the story of Arthur Kipps (John Mackay), a solicitor recounting a traumatic episode from his past, with the help of a professional actor (Daniel Burke).
I found myself lulled into a false sense of security by a meta-theatrical, humorous opening to the first act, with both Mackay and Burke eliciting giggles from the audience as the professional actor tries to get a stiff, amateurish Kipps to act out the parts of his story, creating humour through their contrast.
However, the first act was slightly slow-going with a stop-start sort of pace, containing long, wordy monologues and not a lot of action. Yet one could argue this was purposeful: feelings of anticipation, but also apprehension slowly accumulating, where the audience’s patience is soon rewarded... in the second act.
Long, intense pauses, loud noises, a dark setting, and a (slightly overkill) fog machine are utilised to create the scares, as the production visually grows more complex: the veiled sheet, once thought to be a background, doubles as a wall, a graveyard, and a large manor house.
My fellow students and I shared similar sentiments about the ending (which I won’t spoil, you’re welcome): the final twist was gripping, yet the monologue before, I think, took away from the blow of the closing scare. We also commented on the missed opportunity of a scare just before the actors took their bows.
Overall, the piece was extremely well performed and well-rehearsed by Mackay and Burke, and I found myself twitching at every small sound. If you desire your spine sufficiently chilled or get a small thrill from a jump scare, I highly recommend this production.
Thank you, English Department, for ensuring our heartbeats were well and truly quickened!
Elsie, Year 12 Lit Scholar