Last night we saw The Woman in Black at York’s Grand Opera House. But did it leave us in high spirits? Time to shine a light on what we thought…

Based on Susan Hill’s novel, the plot follows solicitor Arthur Kipps, sent to middle-of-nowhere Crythin Gifford to sort the papers of deceased Mrs Drablow. A sinister tale unfolds, with the locals tight-lipped about mysterious sightings of a shrouded figure with a wasted face. 

Desperate to unburden himself by telling his story, Kipps enlists the help of an actor. What follows is a play within a play, as the ghoulish tale is brought to life with inventive  stagecraft and traditional, theatrical storytelling. 

Something of a shape shifter, John Mackay effortlessly switches between characters and accents. He also plays a bad actor really…good (better than that grammar too!) 

Guided by The Actor (Daniel Burke) there are flashes of comedy, as Kipps struggles to find his inner thespian. Both Mackay and Burke give stellar performances throughout, and had this audience hanging on every word. 

Michael Holt’s set design is intentionally bare-bones. We’re met with an almost empty stage; just a few props draped in cloth, a hat stand and wicker hamper. A lot is done with a little here – the hamper for example becoming a bed, table, pony and trap and more. The Woman in Black relies on your imagination to fill in the blanks, and it works wonderfully well. 

Set in a theatre in the 1950s, The Actor celebrates the invention of recorded sound – which is used to great effect throughout. Sebastian Frost’s sound design (and original sound by Rod Mead) adds drama and tension, and helps the audience suspend their disbelief all the more.

Kevin’s Sleep lighting design sets the scene perfectly too. Darkness is used cleverly to give us glimpses of things in the shadows. Elongated shadows by lamplight are reminiscent of vintage horrors such as Nosferatu. Fang-tastic.

Classic ghost story tropes are here, from rolling mists, locked rooms and creepy toys. Scary? That depends on your terror-tolerance. There were plenty of jumps, and some giggly screams from this enraptured audience. Some may find it slow-paced at times but it’s that creeping, psychological horror that really gets under your skin. 

Thinking of taking your little terrors? It’s not for the easily spooked, and the suggested age rating is 12. My 12-year-old loved it, and we both agreed it was better – and scarier – than the 2012 film with Daniel Radcliffe. 

There were several school groups in on this opening night, and I can see why. The Woman in Black is a masterclass in dramatic storytelling, a minimal approach with maximum impact. 

Frightfully good.

The Woman in Black runs at York’s Grand Opera House until Saturday 17th January. Book your tickets at https://www.atgtickets.com/shows/the-woman-in-black/grand-opera-house-york/ if you dare…