Theatre review: The Woman in Black delivers slow-burning horror in the desolate English countryside
Bernard Cuffling directs and stars in this Metro Theatre adaptation of a West End classic, complete with a fog-shrouded set and ever-building tension
Daniel Merlo in Metro Theatre’s The Woman in Black.
Metro Theatre presents The Woman in Black to November 2
AMONG ALL THE spooks on offer this season, The Woman in Black is something of an anomaly. It’s definitely a ghost story, and a quintessential one at that, but not the kind that jumps out screaming or drenches the stage in gore. Instead, this Victorian-inspired play prefers to sneak up on you, building tension quietly before delivering its chills when you least expect them—even if a scream or two breaks the silence.
The story follows Arthur Kipps, a solicitor sent to the isolated Eel Marsh House to settle the estate of the recently deceased Mrs. Drablow. Situated in a fog-covered village and reachable only by a road that vanishes at high tide, the house itself seems trapped in time. As Arthur sifts through Mrs. Drablow’s papers, he begins to unravel the house’s dark secrets and becomes haunted by a mysterious woman dressed in black.
We’re dealing with very familiar horror tropes here: faces in windows, doors creaking open on their own, disembodied laughter from invisible children, and lamps flickering out in the dead of night. Add to that an isolated mansion in the shadowy countryside and you’ve got yourself a phantasmagorical tale that feels right out of a musty old book.
Adapted for the stage by Stephen Mallatratt and based on Susan Hill’s novel, The Woman in Black has been running in the West End for ages. At the Metro Theatre, it’s brought to life by director Bernard Cuffling. In his two-part version, the story begins with an ageing Arthur (played by Cuffling) who hires a young actor (Daniel Merlo) to help him retell his terrifying tale of years ago. Together, they blur the lines between memory and re-enactment, intertwining past and present as Arthur relives the horrors of Eel Marsh House.
The whole “play-within-a-play” structure might be a hit or miss depending on your taste. On the one hand, it adds to the immersion, with Cuffling’s charmingly British-accented narration, and even offers some lighter moments amid the tension as he effortlessly steps into different characters within the story, often with nothing more than a quick change of coat or hat. One thing remains constant among them: a heed of warning to steer clear of the decaying mansion.
In comes young Arthur, the cynical Londoner, stumbling into a world he’s completely skeptical of. He gets swept up in the foggy, otherworldly trance of it all until it’s far too late to turn back. Merlo brings a lively energy to both his characters—the one in the play, and the one within the play’s play—encountering the horrors alongside the audience.
Bernard Cuffling (left) and Daniel Merlo.
The pace in the first half is a bit meandering, with the supernatural plot lingering mostly in the background while the two men build up the story brick by brick. But by the time the first scare lands, all the groundwork has been laid. Depending on how easily startled you are, there are a handful of moments that might get you during the show’s 100-minute runtime. A lot of that tension comes from well-timed sound effects and a thick fog that seems to permanently settle over the stage.
The set itself is sparse but inventive. A chest turns into a horse-drawn carriage, toys in a nursery first appear as gravestones shrouded in cloth, office chairs become a steamtrain’s seats. Lighting is a standout, capturing the restrained, somber mood and creating memorable images that play with the imagination—particularly during Mrs. Drablow’s funeral scene. And as for the non-speaking role of the Lady in Black herself, a haunting lace ensemble and eerie mannerisms remind us just how terrifying a figure shrouded in black can be.
Ultimately, this production might not be for everyone. If you’re after non-stop scares, you might be left wanting more. But for those who appreciate a slower burn and a more traditional take on ghost stories, The Woman in Black delivers a solid, atmospheric spook—perfect for a foggy autumn night. 
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