Susan Hill’s The Woman in Black has haunted audiences for decades, from its gothic horror pages to its long-running West End staging. At Chester’s Storyhouse, Stephen Mallatratt’s celebrated stage adaptation remains faithful to the Fortune Theatre blueprint under Robin Herford’s direction. Yet, while this two-hander delivers strong performances and some chilling atmospherics, it doesn’t quite succeed when it comes to genuine fright. 

The cast is excellent: John Mackay, as Mr Kipps, and Daniel Burke, as The Actor, carry the entire show with skill and conviction. Their impressive partnership drives the play-within-a-play structure, which is both clever and at times limiting. Mallatratt’s adaptation seems to strip down Susan Hill’s novel to its bare bones, and while its complexities are sometimes comedy inducing, one wonders whether it robs the story of some of its intensity. Would Hill’s tale work more powerfully as a straight 90-minute ghost story as opposed to a meta-theatrical experiment? Perhaps we’ll never know- but there’s a lingering feeling that the true terror is being kept at arm’s length. 

The design elements remain faithful to the classic staging. Michael Holt’s set is eerily sparse: all shadows and suggestion with glimpses of physical objects. Kevin Sleep’s lighting, too, adds atmosphere with sudden blackouts and well-timed washes of grey and red. These elements succeed in creating a sense of unease- a particular highlight during Kipps’ overnight stay at the manor. On the whole, though, they never quite build to the overwhelming sense of dread one might hope for. 

Sound, on the other hand, is a tale of two halves. Sebastian Frost’s work, based on Rob Mead’s original sound design, often lands with precision, but occasionally jars. While certain moments of stillness are punctuated by effective creaks or echoes, other cues sound canned and artificial, pulling the audience out of the carefully woven illusion. A ghost story depends heavily on immersion, and every misjudged sound risks breaking its haunting spell. 

Horror thrives on suggestion, on what remains unseen. Revealing the figure of the titular character in full so early in the production lessens the suspense. Fear, after all, is often strongest when the audience’s imagination does the heavy lifting. Once the mystery is stripped away, the Woman becomes more of a stage presence than a spectral threat.  

Despite these criticisms, there is still much to admire. The production respects its roots, delivering a much-loved version of The Woman in Black that has stood the test of time. Mackay and Burke elevate the material with commanding performances, and there are moments- fleeting but effective- when the hairs on the back of the neck rise and the audience jumps in united gasps with post-fright giggles aplenty.  

Ultimately, though, this is a ghost story that feels chilly rather than chilling. Fans of the novel or those seeking a theatrical curiosity will find much to appreciate, but those hoping for sleepless nights may leave underwhelmed.  

The Woman in Black plays at Chester’s Storyhouse until Saturday 27th September. Further information and booking details can be found here.

Tickets received in exchange for an honest review. #AD

Photography by Mark Douet.