The News Herald (Willoughby, OH)
Simple but scary
Because of initial budgetary restraints, stage adaptation of ‘The Woman in Black’ uses what’s proved to be less-is-more approach to frights
A theatrical game changer. ¶ That’s how Robin Herford describes the stage adaptation of Susan Hill’s 1983 novel “The Woman in Black,” which in 2012 was turned into a feature film starring Daniel Radcliffe. ¶ “It’s a piece that’s conceived entirely in theatrical terms,” said Herford, calling from Chilton, 100 miles west of London. “It works wonderfully in a theater and celebrates what theater can do in a way that no one would really expect. No one really expects to be frightened in the theater, and yet this story, which was conceived as a traditional ghost story, celebrates the genre. ¶ “What we didn’t expect was that people would be actually terrified by it. You’ve only got two-speaking roles, and they lay all of the magic that theater actors can actually bring to a show. It’s a very, very live performance. The whole set happens in an empty theater, which is a spooky enough place at the best times. So the audience is sort of eavesdropping on a very spooky and frightening exorcism.”
Cleveland Play House presents “The Woman in Black” Sept. 15 through Oct. 7 at the Allen Theatre at Playhouse Square.
Directing the ghost story is Herford, who more than 30 years ago while running Stephen Joseph Theatre in Scarborough, England, realized he had a little extra money left over in his budget for a small show.
He reached out to resident playwright Stephen Mallatratt to perhaps write a ghost story for a Christmastime run. However, due to finances, there could be only two characters and minimal set and costume expenses.
After Mallatratt pitched the idea to adapt Hill’s novel, Herford was all for it. What came next was surprising: The entire seasonal run sold out. Then, for the next year, the two sought to bring the production to the West End, where it made its debut in 1989.
“What’s interesting, if I said to Steven, ‘We’ve got a budget of £35,000 — we can cast as many people as we want,’ I’m sure we’d have done a good job of it, but it certainly wouldn’t be running now,” Herford said. “Because the constriction that I put on him to do it for just a small cast meant that he had to be really inventive.”
It’s been running in London nonstop since, with Herford recasting the two roles every nine months to keep it fresh. Over the decades, theater legends and Hollywood stars Martin Freeman, Frank Finlay and Joseph Fiennes have appeared in “The Woman in Black.”
“Because it is such a small piece, I’m allowed to let the actors own the play in a way that normally wouldn’t be the case,” Herford said. “So it has a very vibrant life to it. I think there’s an element that people like to see if they can be scared themselves. Also, they like to bring other people to see if they can be scared, too.
“Our best two selling nights of the year are Halloween, which is pretty obvious, and also Valentine’s Day night because if you want to get a bit closer to somebody, invite them to come to sit next to you in this very scary play. She just might jump into your lap. Who knows?”
Undoubtedly, there will be theatergoers attending the Cleveland Play House’s production of “The Woman in Black” who perhaps underestimate or scoff at its scare factor.
Herford acknowledged the common occurrence, noting those same folks leave feeling as though they’ve witnessed something different in regards to horror in live theater.
“People think it’ll be enjoyable in the common experience of watching something, but actually, when there are people sort of clutching onto their seats and no light on stage in any form for periods of the play, it is a game changer,” Herford said. “So I hope they do come out and find that their withers are rocked.”