Fog, Fear and Footsteps: The Woman in Black Creeps onto the Nottingham Stage

Written by Katie Barr

Few ghost stories have seeped so deeply into the British imagination as The Woman in Black. Susan Hill’s chilling novel is a masterclass in slow-burning dread — all foggy marshes, distant pony traps and the creeping certainty that something is terribly wrong. Stephen Mallatratt’s celebrated stage adaptation has carried that unease into theatres for decades, and its latest tour stop at Theatre Royal Nottingham proves that a good ghost story never truly fades.

The story remains deliciously simple, though noticeably different from the well-known film adaptation. Arthur Kipps, a retired solicitor haunted by a tragedy he cannot forget, hires a young actor to help him stage the terrifying events of his past. What begins as a practical exercise in storytelling gradually shifts into something far more unsettling, as the boundary between rehearsal and memory begins to dissolve.

“A subtle shift in posture, a change in accent, a tightening of tone — suddenly the audience is encountering a new voice, a new personality.”

At the centre of the production is John Mackay as Kipps, and his performance is the quiet engine driving the evening forward. Mackay captures the weary gravity of a man who has spent years trying to bury a story that refuses to stay buried. There is a restrained melancholy to his Kipps, a sense that every word spoken is a reluctant step back into darkness. Yet Mackay’s real talent lies in his ability to transform. As Kipps recounts his younger self’s journey to the desolate Eel Marsh House, he slips into other characters with surprising ease. A subtle shift in posture, a change in accent, a tightening of tone — suddenly the audience is encountering a new voice, a new personality. Each transformation is carefully measured, but effective. It is the sort of performance that quietly showcases an actor’s craft without ever feeling showy.

Opposite him, Daniel Burke plays simply “The Actor”, the energetic performer tasked with bringing Kipps’ memories to life. Burke brings a confident theatricality to the role, leaning into the drama with expressive physicality and a clear flair for storytelling. His presence injects momentum into the production, guiding the narrative through shifting scenes and rising tension. The two actors develop a compelling rhythm together. What begins as a slightly awkward rehearsal slowly grows into a shared descent into Kipps’ haunted past. Burke’s dramatic instincts help build suspense scene by scene, layering tension until the atmosphere thickens with unease.

Visually, the production is deceptively simple. The set design, created by Michael Holt, is almost bare: a raised platform, a few props, and little else. Yet the simplicity becomes its greatest strength. A trunk becomes a carriage. A coat stand suggests a doorway. A scrap of gauze transforms into the windswept marshes of East Anglia. The stage never changes dramatically, yet somehow it becomes everywhere. Lighting, shadow and suggestion do most of the heavy lifting. The result is theatre that feels far larger than the sum of its parts — proof that imagination can often be more powerful than spectacle.

“Sudden bursts of sound, carefully timed lighting changes and eerie appearances ensure the audience never quite settles.”

Of course, no production of The Woman in Black would be complete without its famous shocks, and this one delivers them with precision. Sudden bursts of sound, carefully timed lighting changes and eerie appearances ensure the audience never quite settles. Gasps ripple through the auditorium more than once. However, while the jump scares are plentiful, there are moments where the tension slightly loosens. The framing device — the rehearsal between Kipps and the actor — occasionally interrupts the growing horror just as it begins to take hold. At times, you find yourself wanting less of the mechanics of telling the story and more immersion in the story itself.

Still, the production balances its darkness with surprising flashes of humour. Burke’s theatrical enthusiasm and Kipps’ hesitant participation create moments of levity that ripple through the audience. These brief laughs provide welcome breathing space before the next chill creeps in. Expectations for The Woman in Black are always high. After all, this is a production that ran for 33 years in the West End and has terrified millions. While this tour might not quite reach the dizzying heights some may anticipate, it comes remarkably close Atmospheric, inventive and driven by two committed performances, it remains a gripping evening of theatre — a reminder that sometimes the simplest ghost stories are the most enduring.

Overall,  it was a cleverly staged and genuinely unsettling adaptation that fans of classic British horror will thoroughly enjoy.

All content is original to The Literary Lounge.

In-article images credited to Mark Douet.. No changes were made to these images. 

Featured Image credited to Mark Douet.

Looking for more thoughtful book reviews, engaging literary features, and fun reading content? Be sure to follow us on Instagram for updates, behind-the-scenes peeks, and daily bookish inspiration.

If you’d like to share your thoughts, request a review, or collaborate with us, visit our Contact Page — we’d love to hear from fellow book lovers!