The year is 1983 and writer Susan Hill writes a book which was destined to become a theatrical phenomenon, opening in Scarborough in 1987, followed by a West End production in 1989 (and television film in the same year), where thirty two years later it continues to be performed. Only The Mousetrap, in the non-musical genre, has run for longer. The film world sniffed an opportunity and in 2012, the movie version was made starring Daniel Radcliffe. I am of course describing The Woman in Black (Yvonne Arnaud), the stage play adapted by Stephen Mallatratt, which in my humble opinion is far better. The plot remains faithful to Hill’s book, but adds an extra dimension of a play within a play. This was the third cast I had seen and each time there is always that nagging question of whether they will match up. I say “they”, there are just two actors and this touring production is directed by Robin Herford, the man who also directed the original 1987 cast. What could possibly go wrong? Read on…
Lawyer Arthur Kipps believes he and his family have been cursed by the sceptre of a woman in black. The doddery old soul asks for help from a young actor to help him tell his story in the hope that he will finally overcome the fear that has him frightened for his life. The format relies quite heavily on the audience imagining some of the creepy and slow build horror that has the man so fraught and both Robin Goodale (Kipps) and the young thespian (Anthony Eden) are adept in creating that atmosphere. The opening sequence in which we see Kipps trying to dramatise his tale is too drawn out and theatrically tepid which hinders the momentum of the piece. The second part of Act I takes up the mantle of putting the audience on tenterhooks and preparing us for the scares to come but the legacy of that languid opening rests heavily on its overall impact.
Act II however gets the horror tone spot on and the Victorian darkness and dread to come is felt from curtain up right until the climactic moment that will chill you to the bone. Along the way we see Kipps desperate to exorcise his soul, the overwhelming feeling that he has somehow brought it upon himself never letting him rest. The two performers play all the characters encountered and on a set full of grey drapes, ropes and other theatrical props, it has the feel of a torture museum, they set off alarm bells in our heads and then follow up with scares that made the two women further along my row leap out of their seats. I felt their fear.
Apart from the opening scene Herford’s direction gets the balance just right and with the use of disturbing sound effects and equally unnerving visuals this is not a show for the faint hearted but an enjoyable scary treat for the more robust among you.
And Harry Marquinhos is swept away by the storm…
My first Globe experience and certainly not my last. The Tempest is a production full of drama, musicality and an atmosphere that makes Shakespeare accessible and enjoyable to the uninitiated like me. The minimalist set worked well as the music and costumes gives it strong audio visual impact. It is dreamy and colourful and the energy of a relatively small cast for the play makes the audience feel connected and engaged. The complex plot of shipwrecks and estrangement are given a whole new meaning with a cast of characters that may have been born on the Portobello Road. The actors are also talented musicians and seem to pick up instruments of all kinds and play them excellently. Ariel is particularly spooky but none of the characters fit any ‘norms’ which is what makes it such a thrilling adventure.

The Woman in Black – on tour
The Tempest – www.shakespearesglobe.com