The Woman in Black
Let me start by saying that yesterday’s trip to see The
Woman in Black wasn’t my first. Or my second. Or my third.
According to my last count I think it was viewing number
six.
But I've never seen it in its West End home, never before
sat three rows back from the stage, and not been for the last three years, so
managed to justify another trip.
The Woman in Black is one of those shows many people have
seen; it’s got a (well-deserved) fantastic reputation, and is celebrating 25
years in the West End.
Stephen Mallatratt’s adaptation of Susan Hill’s wonderful
novel manages to maintain the tension and atmosphere of the original tale and
delight and terrify audience after audience.
I feel like it’s one of those shows you have to see to
understand its impact. When I tell people it’s effectively two men and a wicker
basket, and really scary, I can see why some just look a little confused.
But the way this script is put together, and the way that
combines with slick lighting, clever sound effects, and actors of the highest
pedigree, ensure it’s a show to be amazed at.
Because I think a lot of the power of the show lies in some
of this simplicity, in the fact that it’s superb actors and a brilliant script.
The way the language and tension build isn’t down to an all-singing all-dancing
performance; it’s down to the skill and expertise of those who are involved.
Currently playing the leads in the London production are
father and son duo Tom and Christopher Godwin, who were my favourite pair I’ve
seen in the roles so far.
Tom Godwin’s enthusiasm as The Actor and sensitivity in the
role of Arthur were spot on, and he moved between the two parts well.
Christopher Godwin played the emotion of Arthur Kipps beautifully, and his
multiple other characters were a delight to watch. Both men moved between characters
seamlessly, and the transitions between the Actor/Arthur scenes and the scenes
of the ‘performance’ were well-executed.
The staging of The Woman in Black is clever, and again
effective in its simplicity. The hanging gauze creates a perfect effect in
front of the scenes played out behind it, and the ramp at the front of the
stage allowed for levels and movement enhancing the outside scenes, again
cleverly improved with dry ice as the all-encompassing sea mists.
Sound, too, plays a huge part in the show, exemplified best
in the fantastic dream sequence of Act Two. The sounds of the letters, the
horse and trap, and the rocking chair are ones that haunt for hours after the
show has ended.
Timing is key in The Woman in Black, and there’s not much
room for error. Whether it’s in the clever scripting, or in the way the
lighting and sound pull together, everything has to hit its mark for the
tension to not be broken. Moments such as the open door and the blowing out of
the candle, or the movement of the spotlights, add to the rising suspense well.
Chilling is definitely a word to be used to describe the
show, and the ‘horror’ element comes from the tension. I’m someone who can’t
deal with suspense and anticipation, which is why I sit terrified throughout
the show, but even if you’re not a wimp like me, you’d struggle to not be affected
by the suspense. It is built and maintained so masterfully, and is never ‘cliché’.
The final brilliant element of the show is down to the Susan
Hill’s original work: the story. It’s clever and complex, and every moment of
the time spent telling it is used to full capacity.
The two hours in the theatre absolutely flew by, and I left
as impressed as ever by the skill of all of those involved. I’m sure it won’t
be the last time I see the show, and I’m also pretty sure the tension affects
me more every single time!
A brilliant production, deserving of all the praise it
receives.
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