Review: The Woman in Black (Alexandra Palace Theatre / UK Tour)

Review by Dan Ghigeanu

⭐️⭐️⭐️⭐️

After an amazing 33 chilling years in the West End, The Woman in Black is back, this time on tour, continuing its reign as one of the most enduring theatrical ghost stories. Playing at the Alexandra Palace, the show reintroduces audiences to Stephen Mallatratt’s terrifying stage adaptation of Susan Hill’s classic story. Atmospheric and driven by storytelling in its purest form, this production once again proves that imagination and theatrical craft can summon fear far more effectively than any special effect ever could.

The plot centres around Arthur Kipps, a reserved solicitor who is compelled to relive a harrowing encounter from his youth in an attempt to get rid of his trauma. He enlists the help of a young actor to tell the events, and together they recreate his time spent in the eerie Eel Marsh House, where an ominous presence of the Woman in Black, looms with evil intentions.

This dual-layered structure of the narrative, in which a play is staged within a play, remains one of the show’s most effective storytelling devices. It allows for moments of instability and self-awareness before plunging the audience into mounting dread. It also provides a wonderful showcase for the talents of the two central actors, John Mackay and Daniel Burke, who share the responsibility of conjuring an entire world using little more than words, sound, and carefully constructed illusions.

Mackay gives a masterclass in versatility. As the elder Mr Kipps, he is at first a fussy, hesitant narrator, unsure of the theatrics needed and clearly haunted by his past. As the performance progresses, he transforms into a host of supporting characters, from a gruff carriage driver to a kindly landlord to the stoic villagers of Crythin Gifford, each portrayed with great detail and life. His transitions between roles are seamless, often delivered with a subtle physicality or vocal shift that makes every character distinct yet believable. It's a nuanced and generously layered performance.

Daniel Burke, playing “The Actor” and the younger version of Kipps, brings an emotional intensity and youthful urgency to the story. Tasked with embodying Kipps’ terrifying memories, he effectively conveys a man fluctuating between scepticism and escalating fear. His energy drives the story forward, particularly in the more physically charged or psychologically frantic moments. While the role demands a certain degree of restraint, Daniel Burke handles the emotional arc with sensitivity, gradually building from curious outsider to traumatised witness.

That said, the first 15 minutes of the play do feel, in a way, slow-paced. The metatheatrical set-up, while necessary, requires patience. However, once the narrative shifts from rehearsal into full immersion, with the young Kipps arriving in the fog-bound countryside, the production hits its stride and never let’s go. From that point on, the suspense is expertly managed, delivering a series of genuine shocks and nerve-wrecking moments.

Director Robin Herford, who has directed the play since its earliest days, continues to demonstrate a masterful command of tension and suggestion. The brilliance of The Woman in Black lies in its simplicity. There are no flashy effects, instead, the production relies on atmosphere, sound, and the pure imagination of its audience. The titular character herself is used sparingly, but to devastating effect. Her appearances are so precisely timed, and so chillingly executed, that they send visible shivers through the audience. It would be criminal to reveal how exactly she appears but it’s enough to say, you may find yourself glancing nervously over your shoulder during certain scenes in the show.

Looking at the stage for the first time it looks very empty, just a plain curtain and a few props, but it doesn’t stay that way for long. With clever shifts in lighting and sound, that simple setup becomes something much more. From a lonely marsh to a crumbling house, and in one particularly striking scene, a hidden graveyard behind the back curtain gets revealed. It’s sudden, eerie, and feels like uncovering a memory you long lost.

Lighting designer Kevin Sleep plays a huge role in setting the tone. He uses darkness not just to hide and reveal, but to make us feel, to build tension, to hold us in suspense. At times, you can almost feel everyone holding their breath, straining to see what might be lurking in the shadows. Sound designer Sebastian Frost adds to that unease with an atmospheric soundscape, the creak of a rocking chair, the distant echo of hooves and wheels, subtle touches that bring the world to life in everyone’s imagination more than any set ever could.

Despite having run for decades, The Woman in Black doesn’t feel dated, if anything, this version reminds us why it’s endured for so long. It’s a tribute to the power of pure theatre, to storytelling that relies not on spectacle but on suggestion, on trust in the audience’s imagination, and in the talents of two performers who carry the whole thing on their shoulders.

At its core, this play isn’t just about a ghost, it’s about memory, trauma, and the way stories help us face what we fear, and maybe that’s why it still resonates. It’s not just trying to scare you, though it does that very well, it’s inviting you to feel something deeper. By the end of the show, you’ll be wondering how so much tension and emotion could come from so little, and that’s the magic of it.

The Woman in Black plays at the Alexandra Palace Thestre until October 25th

For further tour dates and tickets https://thewomaninblack.com/tour-dates

Photos by Mark Douet