No hokey theatrics in this terrific &#8216;Woman In Black.&#8217;

Old-fashioned ghost storytelling with commanding performances makes this ‘Woman in Black’ a must-see during the holidays.

The Christmas/holiday song ‘The Most Wonderful Time of the Year’ mentions scary ghost stories from Christmases long ago.

Mirvish wisely chooses to follow the song’s lead this festive season by presenting a classic, chilling ghost story that has been running in London’s West End for over 30 years.

Adapted by Stephen Mallatratt, Susan Hill’s The Woman In Black follows lawyer Arthur Kipps (David Acton), who is obsessed with the belief that a curse has been placed on him and his family. He sees the apparition of a woman dressed completely in black. Haunted by past trauma, Kipps enlists a young Actor (Ben Porter) to help him tell his story and banish the fear that haunts him. In a clever twist, the Actor plays Arthur Kipps, while Arthur performs all the other roles.

While the act begins modestly, the story becomes darker and more mysterious, especially when the woman in black makes her periodic appearances.

This opening matinee features the key elements of a spooky ghost story. Michael Holt’s set design depicts a theatre stage, with worn, sooty curtains draping and enveloping a wicker container and chair centre stage at the CAA Theatre. Lighting Designer Anshuman Bhatia’s shadowy lighting enhances the growing sense of dread and fear as the story progresses.

Sound Designer Sebastian Frost expertly manages off-stage effects, with startling screams coming from different parts of the theatre. Be warned, as these screams are quite loud. Imogen Finlayson’s haunting projections of Eel House Manor become dark focal points, with thick fog spilling out from backstage. Locked doors, strange noises, creaks, and pounding sounds increase the suspense. Off-stage screams (which can be very loud, so beware) echo from all around the theatre.

It takes about ten to fifteen minutes to set the plot in motion, so be patient. Context must be established: The mousy Kipps narrates his story on stage with no voice investment. Porter’s Actor collaborates with Acton’s Kipps to encourage him to fully engage with his story and take ownership of it by using his voice. It is only when a decision is made for the young actor to assume Kipps’s role that the tension of Mallatratt’s adaptation increases.

The plot’s intensity eventually builds. Acton and Porter deliver some engaging monologues that have me on the edge of my seat, anticipating what is to come or what might. I will confess: in those moments of waiting, I did jump a couple of times. I’m a sucker for this kind of entertainment.

This Woman in Black exemplifies a challenging piece for an actor to perform. Director Robin Herford achieves what good theatre aims for—challenging both the actor and the audience. The play is challenging because it requires a lot of dialogue with minimal physical action. When that action is included, the true thrill of the piece—being frightened—begins.

I can understand why the production ran in the West End for over 30 years. Many fine British actors have played Arthur Kipps and the Actor, and others have returned to reprise these roles to be challenged as artists.

David Acton and Ben Porter have skillfully achieved the latter, and I’m pleased they’ve come to Toronto to showcase their art form.

They give commanding performances. They are committed to the moment and remain believable throughout. They never upstage each other. They listen, really listen, to each other continually. They also know how to appeal to the audience’s vivid imaginations (riding up and down on top of the wicker container to signify a cart being pulled by a box is only one example). Acton and Porter confidently deliver the goods in telling a hell of a spooky ghost story.

I’ve noticed a trend recently. After the curtain call, one of the actors steps forward and asks the audience if they liked the show, to please tell their friends, as word of mouth is so important. If the audience didn’t like the show, they should tell their enemies. This latter again is all in fun.

I like the show.

It’s an actor’s play to watch classically trained artists do what they are supposed to do – to perform believably, naturally, and realistically. The Woman In Black does just that. Please see it.

Possible spoiler alert: I want to comment briefly on the presence of the woman in black.

The audience does see her. But who is she? Neither the character nor the actor is mentioned in the programme. There are three actors listed in the programme. They will alternate playing the Kipps and the Actor, and rightly so, since the roles are demanding.

Yet who plays the Woman? There is no indication at all.

The mystery deepens.

I got a chill down my spine at the ending during the curtain call. Pay close attention. It will all make sense.

Running time: approximately two hours and 15 minutes with one interval/intermission.

The production runs until January 4, 2026, at the CAA Theatre, 651 Yonge Street, Toronto. For tickets: mirvish.com or call 1-800-461-3333.

PW PRODUCTIONS AND PEMBERLEY PRODUCTIONS present

Susan Hill’s The Woman in Black, adapted by Stephen Mallatratt

Directed by Robin Herford

Designer: Michael Holt

Lighting Designer: Anshuman Bhatia

Sound Designer: Sebastian Frost

Vision Production: Imogen Finlayson