There are no announcements to silence cell phones and the lights do not dim. Instead, Robert Leembruggen’s quiet stride onto the stage abruptly halts the side conversations of an audience still waiting for the show to begin. What starts as an attention-grabbing and promising setup for Keegan Theatre’s “back by popular demand” production of “The Woman in Black,” written by Stephen Mallatratt and directed by Josh Sticklin, quickly unravels into lengthy exposition that undercuts the tension and suspense the thriller promises.
…strong performances…delivers genuine chills…
The story follows Arthur Kipps, an aging solicitor who hires an actor to help him retell the eerie events he experienced years ago in a remote English village. Kipps hopes to rid himself of the haunting memories of his encounter with the ghostly Woman in Black. The play alternates between re-enactments of his past and present-day narration, but it struggles to build suspense. It isn’t until about 50 minutes into the show that the audience is finally drawn into Kipps’s terrifying encounter with the vengeful spirit.
Mutterperl, fresh from his role as Dracula in “Dracula: A Comedy of Terrors,” demonstrates his versatility, while Leembruggen reprises his role from the 2013 production. Despite their strong performances, the actors are burdened with alternating between narrating and acting. Doing both simultaneously detracts from a more immersive and chilling experience and also impedes a sustained atmosphere of fear.
The production’s design elements—consisting of a large door, a chandelier, a desk, a chest, and a wardrobe—are technically proficient but remain static, locked in a repetitive rotation. The set requires the audience to visualize entire scenes based on a few props and largely invisible ones, such as an imaginary dog. While relying on imagination can be effective in sparking fear, in this case, it can become exhausting.
Lighting and sound design, however, excel at creating the eerie ambiance essential to a ghost story. The slamming doors, sudden bangs, and disembodied screams generate moments of tension. A particularly impactful moment occurs when lighting designer Sage Green uses flickering lights on the rotating set to reflect Kipps’s mounting frustration and rage. Additionally, the production delivers genuine chills when the ghostly Woman in Black appears simultaneously in multiple locations. These creative choices heighten the emotional stakes, but the question remains—why did it take so long to reach this intensity? While some ghost stories benefit from a slow burn, the pacing here feels more like a missed opportunity to gradually build suspense. One wishes the production had sustained its intensity throughout, offering more consistent chills from start to finish.
Running Time: One hour and 30 minutes without an intermission.
Advisory: For safety, late seating will not be permitted and patrons will be advised to stay in their seats throughout the performance. Production effects include some strobe lighting, fog, haze, and sudden loud sounds.
“The Woman in Black” runs through November 17, 2024 at The Keegan Theatre, 1742 Church Street NW, Washington, DC 20036. For more information and to purchase tickets, please go online.
