The Woman in Black at The Alexandra Theatre Review
Written by Roni for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
The Woman in Black is touring UK stages once more, having been a staple of British theatre for close to four decades now. Based on Susan Hill’s short novel of the same name, and now of course a major film franchise starring Daniel Radcliffe, the tale has become synonymous with the fear induced by the classic good old fashioned ghost story. However, given its longevity, does this production still hold its own in 2026?
Whilst the stage is suitably set for building a tense atmosphere – bare floorboards, discarded drapes and clothes, very minimal props and one coat stand – it is an atmosphere that unfortunately soon falls flat. This is a popular and effective ghost story, which has so far stood the test of time for nearly 40 years, and the audience is indeed busy with many schools on trips to see the show they are inevitably still studying for GCSE English. However, beyond a few jump scares to shake us up, there is barely a murmur from what seems to be a slightly bored crowd. The text itself does indeed feel tired, but it’s not just because of its 100-year-old setting that this show cant quite seem to really reach its audience. Perhaps we’ve become desensitized by the jaw dropping spectacles that can be seen on stage today (and that we are seeing more regularly), with shows such as Stranger Things: The First Shadow, Harry Potter and the Cursed Child and more recently Paranormal Activity garnering critics praise for their onstage illusions of trickery and evil. From a seat in the dress circle, many of the appearances of the mysterious figure draped in black with the wasted face look clunky and slightly cheap. The show relies quite heavily on piped in sound to unsettle us, but this also misses the mark – excessively loud screeching is often not scary, just genuinely painful to the ears. Whilst there is still something to be said for a traditional ghost tale that eschews any technologically advanced tricks or slights, this text unfortunately cannot be saved by its rather lacking plot either, meaning that the audience is barely hanging on till the end of its shorter run time (in fact, overheard interval toilet remarks included ‘we should have gone to the panto!).
That being said, the two-man cast play their parts brilliantly, salvaging what would be an otherwise even rougher ride. John Mackay stars as Arthur Kipps, with Daniel Burke starring as The Actor, with both men barely getting a moment off stage for the entire runtime. Mackay manages to perfectly capture the desire of the aged British man to never cause a fuss, coupled with Kipp’s ongoing trauma from the events of his past. He also switches with ease between the various characters and dialects that appear across Kipp’s story, adding some traction to keep the audience more engaged. Burke is somewhat understated as The Actor, what seems a simple role on the surface, but requiring those subtle elements to be both believable as his own character, whilst also portraying Arthur’s story. It is these subtle elements that captivate and carry the story along, which both men should be applauded for.
Overall, this is a classic show and tale that feels like it may have sadly had its day in the sun. Its film counterpart is much more lively, and the play text just can’t quite hold its own against the giants in its field immerging in the modern day landscape. It is saved by its wonderful two-hander cast, but audience reaction dictates it may be time to close the drapes on this one for a while.
★★★
