The Woman in Black
Photos by Mark Douet
Tonight’s press-night performance of The Woman in Black at the Theatre Royal Bath delivered exactly what I’d hoped for: a chilling, atmospheric reminder of why Susan Hill’s ghost story endures.
The Woman in Black by Susan Hill (first released in 1983) is a modern Gothic ghost story written in a deliberately traditional style. It evokes the atmosphere of nineteenth century supernatural fiction while dealing with themes that still resonate today. A stylishly understated yet irresistibly atmospheric ghost story, The Woman in Black showcases Susan Hill’s elegant storytelling and mastery of tension, making it a chilling, beautifully crafted read that’s both literary and wonderfully accessible.
When the novel opens, Arthur Kipps is a middle-aged man, surrounded by adult stepchildren at Christmas. Naturally they begin to tell ghost stories. After all, Christmas is the time for this; when the year is darkest and family or friends are gathered together to be entertained. Arthur begins the novel as a rational Edwardian professional who believes he can explain everything. But Eel Marsh House soon dismantles his confidence.
The Woman in Black by Susan Hill (first released in 1983) is a modern Gothic ghost story written in a deliberately traditional style. It evokes the atmosphere of nineteenth century supernatural fiction while dealing with themes that still resonate today. A stylishly understated yet irresistibly atmospheric ghost story, The Woman in Black showcases Susan Hill’s elegant storytelling and mastery of tension, making it a chilling, beautifully crafted read that’s both literary and wonderfully accessible.
When the novel opens, Arthur Kipps is a middle-aged man, surrounded by adult stepchildren at Christmas. Naturally they begin to tell ghost stories. After all, Christmas is the time for this; when the year is darkest and family or friends are gathered together to be entertained. Arthur begins the novel as a rational Edwardian professional who believes he can explain everything. But Eel Marsh House soon dismantles his confidence.
Photos by Mark Douet
As a reader, The Woman in Black feels exceptionally well-suited for stage adaptation, so I was excited to see how this live version of such a classic English gothic ghost story would be translated to the stage. And the play, adapted by Stephen Mallatratt, remains very faithful to the original text in tone and spirit, but it is structurally quite different from Susan Hill’s book. Bringing a fresh approach to the storytelling style, I was impressed by how that this adaptation kept the central plot, characters, setting, and core mystery intact, but cleverly adapted the format to make it theatrical and workable for such a small cast.
Admittedly, the story is a slow burn at first, but the time taken to set the scene more than pays off. Once the tension starts to rise, a disquieting atmosphere fills the theatre and does not let up. Its minimal cast and stripped-back staging once again proved how powerful suggestion can be, and the audience was held in breathless silence more than once. Daniel Burke and John Mackay deliver fantastic performances, and make great use of lamps, torches and simple props so that a large wicker basket becomes a desk, a train carriage, a horse and cart. Their skill helps the audience to imagine every scene and every setting.
Sound designers Rod Mead and Sebastian Frost have created soundscapes and effects that further help to seamlessly transport the audience from scene to scene. The atmosphere in the theatre confirmed it: everyone was leaning in, on the edge of their seats and waiting for the next shadow to move. I was on edge for the whole show.
Admittedly, the story is a slow burn at first, but the time taken to set the scene more than pays off. Once the tension starts to rise, a disquieting atmosphere fills the theatre and does not let up. Its minimal cast and stripped-back staging once again proved how powerful suggestion can be, and the audience was held in breathless silence more than once. Daniel Burke and John Mackay deliver fantastic performances, and make great use of lamps, torches and simple props so that a large wicker basket becomes a desk, a train carriage, a horse and cart. Their skill helps the audience to imagine every scene and every setting.
Sound designers Rod Mead and Sebastian Frost have created soundscapes and effects that further help to seamlessly transport the audience from scene to scene. The atmosphere in the theatre confirmed it: everyone was leaning in, on the edge of their seats and waiting for the next shadow to move. I was on edge for the whole show.
Photos by Mark Douet
The original novel relies heavily on tension, suggestion, and atmosphere rather than complex action. Author Susan Hill withholds information, often using silence, absence, and suggestion to build fear. And the novel’s slow-building dread becomes even more immediate on stage, where shared tension amplifies every sound and shadow.
The book’s settings, especially Eel Marsh House and the causeway, are described as eerie but not overloaded with detail. For this production, this allowed the stage designers to suggest these spaces with simply a few pieces of furniture, atmospheric fog effects, clever lighting, sound cues and shifting backdrops. The emptiness onstage actually enhances fear, mirroring the book’s themes of isolation and the unknown.
The ghost is described in such a stark, simple way that she translates very powerfully to the stage. Because Hill never over-explains the ghost, her theatrical presence retains that chilling sense of mystery. The audience experiences the ghost the way Arthur does - fleetingly, shockingly, and without explanation.
The book’s settings, especially Eel Marsh House and the causeway, are described as eerie but not overloaded with detail. For this production, this allowed the stage designers to suggest these spaces with simply a few pieces of furniture, atmospheric fog effects, clever lighting, sound cues and shifting backdrops. The emptiness onstage actually enhances fear, mirroring the book’s themes of isolation and the unknown.
The ghost is described in such a stark, simple way that she translates very powerfully to the stage. Because Hill never over-explains the ghost, her theatrical presence retains that chilling sense of mystery. The audience experiences the ghost the way Arthur does - fleetingly, shockingly, and without explanation.
Photos by Mark Douet
The natural intimacy of theatre enhances the gothic mood. As a fan of the book, I can happily report that this production effectively captures the eerie tone and faithful plot of the original novel while embracing the clever theatricality of Stephen Mallatratt’s adaptation.
I felt this was a richly satisfying night at the theatre and a must-see for fans of the book and newcomers alike. If you enjoy smart storytelling, old-fashioned suspense, and superb stagecraft, you’ll want to catch this one while it’s in Bath. The play is now showing from Tuesday 2nd December until Saturday 6th December.