‘The Woman in Black’ // PW Productions, Woodward Productions and Neil Gooding Productions

‘The Woman in Black’ was mediocre.

‘The Woman in Black’, presented by PW Productions, Woodward Productions and Neil Gooding Productions, is a reminder that a stellar cast, creative team and space does not always equate to a stellar production. While the play-within-a-play ticked many of the right boxes on the surface level, the lack of depth and innovation detracted from the overall quality of the piece.

‘The Woman in Black’ began as a novel, written by Susan Hill in 1983. It was quickly adapted for stage in 1987 and then a screenplay in 1989. Second only to ‘The Mousetrap’, ‘The Woman in Black’ is one of the longest-running plays in West End’s history.

Speaking of mouse traps, this incredible script was showcased by John Sayles and Dale Shearman at Redcliffe’s Mousetrap Theatre in 2014, and Reagan Warner led the show at Brisbane Arts Theatre in 2017. It tells the tale of a young solicitor who confronts a vengeful spirit haunting a desolate mansion, unearthing dark secrets that threaten his sanity and safety.

Of course, for many, their first introduction to the piece may have been the 2012 film starring Daniel Radcliffe. While a quality horror film in its own right, the stage rendition’s use of a play-within-a-play gives the story a level of immersion that the film struggles to recreate. Many producers lean into this element, not just breaking the fourth wall for jump scares, but to expand the role of the audience.

Lighting design by Kevin Sleep included floodlights, which were used to effect and created a clear distinction between the initial play and the one performed within. A highlight was the stark red spotlight creating the illusion of a hallway and emphasizing a door locked from the inside. Paired with this were some strategic set choices by designer Michael Holt, including a raked stage decorated in aged floorboards, and a classic scrim, creating a separation between rooms in the grand house.

Sound design by Rod Mead and Sebastian Frost was awkward at times, with some of the screams and clunky high heel effects outdated for modern audio expectations. Equally jarring was the use of a smoke machine that was unmasked, poorly timed and unnecessary.

Director Robin Herford, with associate director Antony Eden and resident director Tim Hill, all share impressive repertoires and have mastered some iconic productions. Unfortunately, this is not one of their best. While the components of a well directed show were present – breaking of the fourth wall, use of levels, spacing, pacing and beats – there was a sense of mediocrity about some of the choices made. Nothing innovative or exciting was tried, and some scenes felt like they were being marked. The movement in some scenes appeared planned but not purposeful, such as when The Actor wandered the grounds of the house from behind the scrim.

Daniel McPherson as The Actor managed to overperform but underdeliver. While he filled the shoes of a “greatest showman” like persona at times, he was unable to bring levels of depth or complexity to the role. The overuse of full front distracted from the story, and many lines were delivered in an upbeat and cheery tone, even when the atmosphere called for something darker. The audience were left waiting for jump scares rather than making any meaningful connection to the character.

John Waters as Arthur Kipps was, in some ways, the production’s only saving grace. He made impeccable transitions between performing the play-within-the-play and living within that world as the characters. Waters employed his extensive experience and theatrical skill to maintain the pace of the scenes and conjure numerous illusions with mime.

Overall, this was a bit of a disappointing production. A coat rack of costumes to the side of the stage made for a reminder of the play-within-a-play dimension to the piece, but in some ways it came to symbolize the rehearsal-like feeling of the performance.

Hopefully, the show will grow with time as ‘The Woman in Black’ performs at QPAC until May 11th, before continuing the Australian tour to Adelaide, Perth and Melbourne. For more information visit the official website.