REVIEW
✭✭✭✭✭ 5/5
SUSAN HILL’S
THE WOMAN IN BLACK
TUESDAY 17 OCTOBER – SATURDAY 21 OCTOBER 2023
Palace Theatre, Southend
https://southendtheatres.org.uk/online/tickets-the-woman-in-black-southend-2023
MALCOLM JAMES AS ‘ARTHUR KIPPS’
MARK HAWKINS AS ‘THE ACTOR’
✭✭✭✭✭ 5/5
SUSAN HILL’S
THE WOMAN IN BLACK
TUESDAY 17 OCTOBER – SATURDAY 21 OCTOBER 2023
Palace Theatre, Southend
https://southendtheatres.org.uk/online/tickets-the-woman-in-black-southend-2023
MALCOLM JAMES AS ‘ARTHUR KIPPS’
MARK HAWKINS AS ‘THE ACTOR’
PLUS
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INTERVIEW WITH SUSAN HILL
keep scrolling for a fantastic
INTERVIEW WITH SUSAN HILL
It was a bleak and miserable night. Thick, unforgiving rain fell from the starless sky and our beloved town was plagued by a frosty darkness. Quite the pathetic fallacy to accompany a viewing of ‘The Woman in Black,’ wouldn't you say?
I entered the theatre with jarring trepidation, and not just because of the soul-stirring content I was soon to endure. This particular play happens to be a true favourite of mine. Having witnessed it at The Fortune in London on several occasions, I was hoping for a performance that lived up to the piece’s sterling, and startling, reputation. Fortunately for me and my fellow fans of the horror genre, it did not disappoint.
This telling of the terrifying tale, directed by Robin Herford, was chillingly captivating. Similar to it’s London incarnation, the story is told through minimal set and scenery, relying on mesmerising illusions and powerful, emotive acting to drive the audience to the most haunting realms of their imagination. The play is based on the novel of the same name, penned by heroine of horror, Susan Hill. For forty years, through many mediums, ‘The Woman in Black,’ has distressed, disturbed and delighted audiences all over the world and, much like the infamous antagonist, it will forever be amongst us.
The story begins in the 1950s, where an ageing Arthur Kipps is desperately seeking to silence the horror that hounds him. Kipps encountered the phantom female thirty years prior to the events of the play and since then has been haunted by her frightening appearance, bringing misery and mayhem to his lamentable life. Kipps is played superbly by veteran actor, Malcolm James. James perfectly portrays the tortured soul, bringing a grounded honesty that compels the audience to sympathise with him and his devastating dilemma. Kipps believes that a dramatic retelling of what actually happened on the misty moors of Eel Marsh will banish his demons once and for all. To achieve his goal he enlists the help of a theatrical and charismatic fellow, known only as ‘The Actor.’ Mark Hawkins delivers a tremendous turn as the enthusiastic thespian, switching from effortless charm to burning intensity with the greatest of ease. Together the two attempt to relive the ghost story…with spine chilling consequences. Then of course there is the woman herself. It is part of the play’s grand tradition that the identity of the performer who adopts the black veil is never revealed. This famed part of theatre folklore adds to the mystery and charm of the piece.
The play is a masterclass in how a production can do so much with so little. The lighting design meticulously follows the narrative, taking us from the yellow smoke of London to the brooding fog of the coast. The element of horror aside, this is stagecraft at is finest, with scenes gliding along at a thrilling pace. That being said, it is not for the faint of heart. The Woman in Black takes every opportunity to catch you off guard and the performance is jammed with shocking, albeit highly entertaining, jump scares. As I type this, I understand there are still one or two secondary school students clinging to the theatre chandeliers. Theatre at it’s finest. As an audience we screamed together, gasped together and laughed together.
With the Halloween season upon us, there is no better time to throw caution to the wind, screw your courage to the sticking place, and join Arthur Kipps as he journeys into an overwhelming nightmare. A word of warning though, some things once seen can never be unseen. To quote the long suffering townspeople who have lived alongside the dead, ‘What she wants is unknown but she always comes back; the spectre of darkness…The Woman in Black.’
Review: Jonny Buxton
I entered the theatre with jarring trepidation, and not just because of the soul-stirring content I was soon to endure. This particular play happens to be a true favourite of mine. Having witnessed it at The Fortune in London on several occasions, I was hoping for a performance that lived up to the piece’s sterling, and startling, reputation. Fortunately for me and my fellow fans of the horror genre, it did not disappoint.
This telling of the terrifying tale, directed by Robin Herford, was chillingly captivating. Similar to it’s London incarnation, the story is told through minimal set and scenery, relying on mesmerising illusions and powerful, emotive acting to drive the audience to the most haunting realms of their imagination. The play is based on the novel of the same name, penned by heroine of horror, Susan Hill. For forty years, through many mediums, ‘The Woman in Black,’ has distressed, disturbed and delighted audiences all over the world and, much like the infamous antagonist, it will forever be amongst us.
The story begins in the 1950s, where an ageing Arthur Kipps is desperately seeking to silence the horror that hounds him. Kipps encountered the phantom female thirty years prior to the events of the play and since then has been haunted by her frightening appearance, bringing misery and mayhem to his lamentable life. Kipps is played superbly by veteran actor, Malcolm James. James perfectly portrays the tortured soul, bringing a grounded honesty that compels the audience to sympathise with him and his devastating dilemma. Kipps believes that a dramatic retelling of what actually happened on the misty moors of Eel Marsh will banish his demons once and for all. To achieve his goal he enlists the help of a theatrical and charismatic fellow, known only as ‘The Actor.’ Mark Hawkins delivers a tremendous turn as the enthusiastic thespian, switching from effortless charm to burning intensity with the greatest of ease. Together the two attempt to relive the ghost story…with spine chilling consequences. Then of course there is the woman herself. It is part of the play’s grand tradition that the identity of the performer who adopts the black veil is never revealed. This famed part of theatre folklore adds to the mystery and charm of the piece.
The play is a masterclass in how a production can do so much with so little. The lighting design meticulously follows the narrative, taking us from the yellow smoke of London to the brooding fog of the coast. The element of horror aside, this is stagecraft at is finest, with scenes gliding along at a thrilling pace. That being said, it is not for the faint of heart. The Woman in Black takes every opportunity to catch you off guard and the performance is jammed with shocking, albeit highly entertaining, jump scares. As I type this, I understand there are still one or two secondary school students clinging to the theatre chandeliers. Theatre at it’s finest. As an audience we screamed together, gasped together and laughed together.
With the Halloween season upon us, there is no better time to throw caution to the wind, screw your courage to the sticking place, and join Arthur Kipps as he journeys into an overwhelming nightmare. A word of warning though, some things once seen can never be unseen. To quote the long suffering townspeople who have lived alongside the dead, ‘What she wants is unknown but she always comes back; the spectre of darkness…The Woman in Black.’
Review: Jonny Buxton
The production will star Malcolm James as Arthur Kipps and Mark Hawkins as The Actor, opening at the Wolverhampton Grand Theatre on Wednesday 6 September 2023. Following Wolverhampton, the tour will visit Cardiff, Billingham, Buxton, Aylesbury, Southend, Blackpool, Malvern, Richmond, Poole, Nottingham, Liverpool, Swindon, Norwich, Truro, York, Birmingham, Bradford, Brighton, Ipswich, Bath, Glasgow, Milton Keynes, Dartford, High Wycombe, Crewe, Coventry, Belfast, Derry, and Dublin.
Malcolm James returns to The Woman in Black having first played Arthur Kipps on a UK Tour and then at the Fortune Theatre. His other West End credits include The Mousetrap at St. Martin’s Theatre and Volpone at the National Theatre. His on-screen credits include HBO’s My Dinner with Herve, Secret Invasion on Disney+, the BBC’s Doctors and EastEnders, ITV’s Coronation Street and The Bill. On radio he has been heard on Letters to an Icon, The History Man and several afternoon dramas all on BBC Radio 4.
Mark Hawkins first played The Actor in The Woman in Black at the Fortune Theatre and The Madinat Theatre. His other theatrical credits include The Railway Children at Kings Cross Theatre, Julius Caesar at The Globe, the uk tour of Lady Chatterley’s Lover and the international tour of The Strange Case of Dr Jekyll and Mr Hyde. His television credits include HBO’s The Nevers and ITV’s Vera.
The tour cast is completed by Jon de Ville (The Sound of Music UK Tour, Netflix’s Scoop, BBC’s Strike) as understudy Arthur Kipps and Dominic Price (The Woman in Black) as understudy The Actor.
Over 33-years THE WOMAN IN BLACK played over 13,000 performances in the West End and has been seen by over 7-million people in the UK. In June 2019 the production celebrated its 30th Anniversary in London’s West End with a special gala performance.
Stephen Mallatratt’s adaptation of Susan Hill’s best-selling novel tells the story of a lawyer obsessed with a curse that he believes has been cast over his family by the spectre of a ‘Woman in Black’. He engages a young actor to help him tell his story and exorcise the fear that grips his soul. It begins innocently enough, but as they delve further into his darkest memories the borders between make-believe and reality begin to blur and the flesh begins to creep.
Following a Christmas production in 1987 at a pub in Scarborough, THE WOMAN IN BLACK was brought to Hammersmith’s Lyric Theatre in January 1989. Reviews were sufficiently encouraging (apart from The Independent, who regretted the production’s inability to incorporate a live dog) to warrant a West End run. Its West End tour started at the Strand (now Novello) Theatre in March and moved to the Playhouse in April, finally lodging at the Fortune on June 7, 1989.
Throughout the production’s run in the West End and during its many tours the producer has been determined to keep ticket prices within the range of students and young people. This policy will continue in whatever form the play and production take in the future.
THE WOMAN IN BLACK is directed by Robin Herford, with designs by Michael Holt and lighting by Kevin Sleep.
Malcolm James returns to The Woman in Black having first played Arthur Kipps on a UK Tour and then at the Fortune Theatre. His other West End credits include The Mousetrap at St. Martin’s Theatre and Volpone at the National Theatre. His on-screen credits include HBO’s My Dinner with Herve, Secret Invasion on Disney+, the BBC’s Doctors and EastEnders, ITV’s Coronation Street and The Bill. On radio he has been heard on Letters to an Icon, The History Man and several afternoon dramas all on BBC Radio 4.
Mark Hawkins first played The Actor in The Woman in Black at the Fortune Theatre and The Madinat Theatre. His other theatrical credits include The Railway Children at Kings Cross Theatre, Julius Caesar at The Globe, the uk tour of Lady Chatterley’s Lover and the international tour of The Strange Case of Dr Jekyll and Mr Hyde. His television credits include HBO’s The Nevers and ITV’s Vera.
The tour cast is completed by Jon de Ville (The Sound of Music UK Tour, Netflix’s Scoop, BBC’s Strike) as understudy Arthur Kipps and Dominic Price (The Woman in Black) as understudy The Actor.
Over 33-years THE WOMAN IN BLACK played over 13,000 performances in the West End and has been seen by over 7-million people in the UK. In June 2019 the production celebrated its 30th Anniversary in London’s West End with a special gala performance.
Stephen Mallatratt’s adaptation of Susan Hill’s best-selling novel tells the story of a lawyer obsessed with a curse that he believes has been cast over his family by the spectre of a ‘Woman in Black’. He engages a young actor to help him tell his story and exorcise the fear that grips his soul. It begins innocently enough, but as they delve further into his darkest memories the borders between make-believe and reality begin to blur and the flesh begins to creep.
Following a Christmas production in 1987 at a pub in Scarborough, THE WOMAN IN BLACK was brought to Hammersmith’s Lyric Theatre in January 1989. Reviews were sufficiently encouraging (apart from The Independent, who regretted the production’s inability to incorporate a live dog) to warrant a West End run. Its West End tour started at the Strand (now Novello) Theatre in March and moved to the Playhouse in April, finally lodging at the Fortune on June 7, 1989.
Throughout the production’s run in the West End and during its many tours the producer has been determined to keep ticket prices within the range of students and young people. This policy will continue in whatever form the play and production take in the future.
THE WOMAN IN BLACK is directed by Robin Herford, with designs by Michael Holt and lighting by Kevin Sleep.
INTERVIEW WITH SUSAN HILL
The Woman in Black arrives at the Southend Palace Theatre from Tue 17 to Sat 21 Oct as part of its UK Tour. We spoke with the acclaimed author of the original novel, Dame Susan Hill, to find out all about how she came up with the spooky story of The Woman in Black and what it’s like seeing your work told on stage.
The Woman in Black ran for an incredible 33 years in the West End, and is now touring the UK again. Did you anticipate the show would have such a long life when it first opened?
Oh no, we thought it would run for six weeks! It opened in Scarborough in 1988, and it started because they had a pantomime on in the theatre and Alan Ayckbourn who was the Artistic Director wanted to have something to put into the studio theatre alongside the pantomime. Stephen Mallatratt went on holiday and at the airport he picked up The Woman in Black. He was then lying on a beach in Greece and thought he could make this work on the stage. When he wrote to me asking if he could adapt it I thought it was mad but it’s a truly remarkable piece of theatre.
Were you nervous about handing over your story to a new team when you were originally approached about adapting the novel to the stage?
Not at all! The play is very true to the book and yet simultaneously very different by nature of being a piece of theatre. It works brilliantly in theatrical terms and it is still my book, but it is also not – and that is exciting.
What was it like the first time you saw your characters appearing in the flesh on stage?
The Woman in Black herself very much existed in my mind, I knew what she felt like, so it is very peculiar to feel her presence in a theatre. They two gentlemen are such brilliantly developed characters and utilised so well by Stephen’s writing for the stage that they become quite different. I’m always interested to see new actors taking it over, because although it is the same text, every pair of actors bring something different to it, it really does change!
Stephen Mallatratt’s adaptation utilises some very traditional theatrical techniques in very innovative ways. Does the play capture the atmosphere of Eel Marsh House the way you envisioned it?
I think the great thing about the show is that it really does use the theatre, the stage, and it makes the audience work. Stephen Mallatratt’s writing makes you use your imagination, and that’s the brilliance of it and also what makes some elements all the more scary!
Where did your original idea for The Woman in Black come from?
I have always loved reading ghost stories but had realised that in recent years not a lot had been written. People were writing horror, but horror is different to me. You can have a horror story that doesn’t have a ghost, whereas a ghost story could be horror but also could be unnerving in a different way or even heartbreaking.
I ended up making a list of the key elements I thought a good ghost story should have and worked from that. I thought it should have atmosphere, lots of atmosphere, an isolated location which in itself is unnerving, and I was absolutely sure that the ghost needed a reason to be there. I wasn’t sure at first whether that would be because they wanted revenge, or they needed to communicate with the living world but I knew they had to have motivation.
The Woman in Black, she came to me straight away – I wanted her to be a woman and of her period. Then various things that I had found alarming as a child came back into my mind and I wanted to incorporate them including the image of the dusty, cobweb covered nursery which I always think has elements of Miss Havisham in it.
Why do you think we as readers or audience members enjoy being scared?
It’s a funny thing isn’t it? It’s a very primitive instinct, to be frightened. However, the joy of a ghost story is that it is just practice really, we are being frightened delightfully. Whilst we may jump and scream in the theatre, we know that we are safe and can allow ourselves to be scared which I think is essential! Perhaps it is our way of learning to manage our fears?
How does it make you feel when you hear the audience reactions to The Woman in Black?
I’ve seen it so many times and yet sometimes it even makes me jump! I like to watch the show from is from the wings and be able to see the audience from that angle. It’s especially good when you have school parties in who aren’t expecting to be frightened but then as it begins to get tense suddenly you see the body language of the whole audience shift. Sometimes people react really strongly and shout things out almost involuntarily as they’re so involved in the action on stage!
Do you believe in ghosts?
I think I do, in a sense. I’ve never seen one (as far as I know!), but enough people I know have been in a place which emanates a sense of evil and have felt the urge to immediately get away from it. Also, you always hear of dogs having that sense of something not being right, being spooked, and why would an animal make that up?
For lots of young people, coming to see The Woman in Black will be their first experience of live theatre. What do you advise they look out for?
Go into the theatre with an open mind and try to immerse yourself in the show. Allow yourself to imagine everything the show invites you to!
What do you think it is about theatre that makes it such a wonderful storytelling platform, and do you have any other works of yours that you’d like to see adapted for the stage?
People love live theatre. There’s something special about it which you can’t get from Netflix or YouTube. The Woman in Black has a lot of young people in its audiences, many have whom have never been inside a theatre or to a play and it bowls them over. I hope, indeed I know, that it introduces many to a lifetime of theatre going which makes me and made Stephen Mallatratt very proud.
When my elder daughter went to the theatre for the first time, to see a David Wood children’s play, aged three, she watched intently for the first few minutes, then said, 'Mummy, they're REAL!' It's that, the flesh & blood immediacy that makes it so special. The fact that something may go wrong, or maybe take off into the best performance ever. Nothing else can give you that edge of excitement.
I'd love to see any other of the ghost stories on stage though they wouldn't all work. Someone very clever could make The Man In The Picture work, I think. If you can do The Woman in Black, with a pony and trap, a ghost, a dog, a mist shrouded graveyard and all the contents of the mysterious house, you can do anything!
The Woman in Black ran for an incredible 33 years in the West End, and is now touring the UK again. Did you anticipate the show would have such a long life when it first opened?
Oh no, we thought it would run for six weeks! It opened in Scarborough in 1988, and it started because they had a pantomime on in the theatre and Alan Ayckbourn who was the Artistic Director wanted to have something to put into the studio theatre alongside the pantomime. Stephen Mallatratt went on holiday and at the airport he picked up The Woman in Black. He was then lying on a beach in Greece and thought he could make this work on the stage. When he wrote to me asking if he could adapt it I thought it was mad but it’s a truly remarkable piece of theatre.
Were you nervous about handing over your story to a new team when you were originally approached about adapting the novel to the stage?
Not at all! The play is very true to the book and yet simultaneously very different by nature of being a piece of theatre. It works brilliantly in theatrical terms and it is still my book, but it is also not – and that is exciting.
What was it like the first time you saw your characters appearing in the flesh on stage?
The Woman in Black herself very much existed in my mind, I knew what she felt like, so it is very peculiar to feel her presence in a theatre. They two gentlemen are such brilliantly developed characters and utilised so well by Stephen’s writing for the stage that they become quite different. I’m always interested to see new actors taking it over, because although it is the same text, every pair of actors bring something different to it, it really does change!
Stephen Mallatratt’s adaptation utilises some very traditional theatrical techniques in very innovative ways. Does the play capture the atmosphere of Eel Marsh House the way you envisioned it?
I think the great thing about the show is that it really does use the theatre, the stage, and it makes the audience work. Stephen Mallatratt’s writing makes you use your imagination, and that’s the brilliance of it and also what makes some elements all the more scary!
Where did your original idea for The Woman in Black come from?
I have always loved reading ghost stories but had realised that in recent years not a lot had been written. People were writing horror, but horror is different to me. You can have a horror story that doesn’t have a ghost, whereas a ghost story could be horror but also could be unnerving in a different way or even heartbreaking.
I ended up making a list of the key elements I thought a good ghost story should have and worked from that. I thought it should have atmosphere, lots of atmosphere, an isolated location which in itself is unnerving, and I was absolutely sure that the ghost needed a reason to be there. I wasn’t sure at first whether that would be because they wanted revenge, or they needed to communicate with the living world but I knew they had to have motivation.
The Woman in Black, she came to me straight away – I wanted her to be a woman and of her period. Then various things that I had found alarming as a child came back into my mind and I wanted to incorporate them including the image of the dusty, cobweb covered nursery which I always think has elements of Miss Havisham in it.
Why do you think we as readers or audience members enjoy being scared?
It’s a funny thing isn’t it? It’s a very primitive instinct, to be frightened. However, the joy of a ghost story is that it is just practice really, we are being frightened delightfully. Whilst we may jump and scream in the theatre, we know that we are safe and can allow ourselves to be scared which I think is essential! Perhaps it is our way of learning to manage our fears?
How does it make you feel when you hear the audience reactions to The Woman in Black?
I’ve seen it so many times and yet sometimes it even makes me jump! I like to watch the show from is from the wings and be able to see the audience from that angle. It’s especially good when you have school parties in who aren’t expecting to be frightened but then as it begins to get tense suddenly you see the body language of the whole audience shift. Sometimes people react really strongly and shout things out almost involuntarily as they’re so involved in the action on stage!
Do you believe in ghosts?
I think I do, in a sense. I’ve never seen one (as far as I know!), but enough people I know have been in a place which emanates a sense of evil and have felt the urge to immediately get away from it. Also, you always hear of dogs having that sense of something not being right, being spooked, and why would an animal make that up?
For lots of young people, coming to see The Woman in Black will be their first experience of live theatre. What do you advise they look out for?
Go into the theatre with an open mind and try to immerse yourself in the show. Allow yourself to imagine everything the show invites you to!
What do you think it is about theatre that makes it such a wonderful storytelling platform, and do you have any other works of yours that you’d like to see adapted for the stage?
People love live theatre. There’s something special about it which you can’t get from Netflix or YouTube. The Woman in Black has a lot of young people in its audiences, many have whom have never been inside a theatre or to a play and it bowls them over. I hope, indeed I know, that it introduces many to a lifetime of theatre going which makes me and made Stephen Mallatratt very proud.
When my elder daughter went to the theatre for the first time, to see a David Wood children’s play, aged three, she watched intently for the first few minutes, then said, 'Mummy, they're REAL!' It's that, the flesh & blood immediacy that makes it so special. The fact that something may go wrong, or maybe take off into the best performance ever. Nothing else can give you that edge of excitement.
I'd love to see any other of the ghost stories on stage though they wouldn't all work. Someone very clever could make The Man In The Picture work, I think. If you can do The Woman in Black, with a pony and trap, a ghost, a dog, a mist shrouded graveyard and all the contents of the mysterious house, you can do anything!
TUESDAY 17 OCTOBER – SATURDAY 21 OCTOBER 2023
Palace Theatre, Southend
https://southendtheatres.org.uk/online/tickets-the-woman-in-black-southend-2023
ON SALE NOW
TUESDAY 31 OCTOBER – SATURDAY 4 NOVEMBER 2023
Blackpool Grand
https://www.blackpoolgrand.co.uk/event/the-woman-in-black
ON SALE NOW
TUESDAY 7 – SATURDAY 11 NOVEMBER 2023
Malvern Festival Theatre
https://www.malvern-theatres.co.uk/whats-on/category/stage/
ON SALE NOW
TUESDAY 14 – SATURDAY 18 NOVEMBER 2023
Richmond Theatre
https://www.atgtickets.com/shows/the-woman-in-black/richmond-theatre/
ON SALE NOW
TUESDAY 21 – SATURDAY 25 NOVEMBER 2023
Poole Lighthouse
https://www.lighthousepoole.co.uk/event/the-woman-in-black/
ON SALE NOW
MONDAY 27 NOVEMBER – SATURDAY 2 DECEMBER 2023
Theatre Royal, Nottingham
https://trch.co.uk/whats-on/the-woman-in-black-2023/
ON SALE NOW
TUESDAY 5 – SATURDAY 30 DECEMBER 2023
Liverpool Playhouse
https://www.everymanplayhouse.com/whats-on/the-woman-in-black
ON SALE NOW
TUESDAY 9 – SATURDAY 13 JANUARY 2024
Wyvern Theatre, Swindon
https://swindontheatres.co.uk/Online/tickets-the-woman-in-black-swindon-2024
ON SALE NOW
MONDAY 15 – SATURDAY 20 JANUARY 2024
Theatre Royal, Norwich
https://norwichtheatre.org/whats-on/the-woman-in-black/
ON SALE NOW
MONDAY 22 – SATURDAY 27 JANUARY 2024
Hall for Cornwall
https://hallforcornwall.co.uk/playhouse-tickets-shows/the-woman-in-black/about-the-show
ON SALE NOW
TUESDAY 30 JANUARY – SATURDAY 3 FEBRUARY 2024
Grand Opera House, York
https://www.atgtickets.com/shows/the-woman-in-black/grand-opera-house-york/
ON SALE NOW
TUESDAY 6 – SATURDAY 10 FEBRUARY 2024
The Alexandra, Birmingham
https://www.atgtickets.com/shows/the-woman-in-black/the-alexandra-theatre-birmingham/
ON SALE NOW
TUESDAY 20 – SATURDAY 24 FEBRUARY 2024
Alhambra Theatre, Bradford
https://www.bradford-theatres.co.uk/whats-on/the-woman-in-black
ON SALE NOW
TUESDAY 27 FEBRUARY – SATURDAY 2 MARCH 2024
Theatre Royal, Brighton
https://www.atgtickets.com/shows/the-woman-in-black/theatre-royal-brighton/
ON SALE NOW
MONDAY 4 – SATURDAY 9 MARCH 2024
Regent Theatre, Ipswich
https://ipswichtheatres.co.uk/whats-on/the-woman-in-black/
ON SALE NOW
MONDAY 11 – SATURDAY 16 MARCH 2024
Theatre Royal, Bath
https://www.theatreroyal.org.uk/event/the-woman-in-black/
ON SALE NOW
TUESDAY 26 – SATURDAY 30 MARCH 2024
Theatre Royal, Glasgow
https://www.atgtickets.com/shows/the-woman-in-black/theatre-royal-glasgow/
ON SALE NOW
TUESDAY 2 – SATURDAY 6 APRIL 2024
Milton Keynes Theatre
https://www.atgtickets.com/shows/the-woman-in-black/milton-keynes-theatre/
ON SALE NOW
TUESDAY 9 – SATURDAY 13 APRIL 2024
The Orchard Theatre, Dartford
https://orchardtheatre.co.uk/Online/
ON SALE NOW
TUESDAY 16 – SATURDAY 20 APRIL 2024
Wycombe Swan
https://wycombeswan.co.uk/Online/tickets-the-woman-in-black-wycombe-2024
ON SALE NOW
TUESDAY 23 – SATURDAY 27 APRIL 2024
Crewe Lyceum Theatre
https://crewelyceum.co.uk/Online/tickets-the-woman-in-black-crewe-2024
ON SALE NOW
TUESDAY 30 APRIL – SATURDAY 4 MAY 2024
Belgrade Theatre, Coventry
www.belgrade.co.uk
ON SALE SOON
MONDAY 13 – SATURDAY 18 MAY 2024
Grand Opera House, Belfast
https://www.goh.co.uk/whats-on/the-woman-in-black/
ON SALE NOW
TUESDAY 21 – SATURDAY 25 MAY 2024
Millennium Forum, Derry
https://etickets.millenniumforum.co.uk/
ON SALE NOW
TUESDAY 28 MAY – SATURDAY 1 JUNE 2024
Gaiety Theatre, Dublin
https://www.gaietytheatre.ie/events/the-woman-in-black/
ON SALE NOW