Experts will doubtlessly tell you how the manipulation of gravity and centrifugal force is what generates the excitement of theme-park rides but that probably doesn’t matter to visitors screaming their heads off as they do another loop. Similarly, The Woman In Black is very much a tried-and-tested rollercoaster of theatrical thrills – and likewise, how it gets to those giddy moments of the audience jumping out of their seats doesn’t really matter. You don’t come for the the dramaturgy – you come for the suspense, the tension and the frights!
The play came to be in a rather unlikely way. In December 1987, the Stephen Joseph Theatre in Scarborough had a pantomime in their main house, but Robin Herford, who was running the theatre in the absence of Artistic Director Alan Ayckbourn, wanted a contrasting show to run alongside. Stephen Mallatratt had picked up Susan Hill’s novel The Woman in Black at the airport, read it on holiday and thought it would be a good one to adapt. With so few actors and props, the show made its low-budget, three-week debut in the bar of that Scarborough theatre. Who could have guessed then that The Woman In Black would cast such a long shadow with a West End run that would last for 33 years and play for 13,232 performances?