Editor’s note: This article was initially published in The Daily Gazette, Swarthmore’s online, daily newspaper founded in Fall 1996. As of Fall 2018, the DG has merged with The Phoenix. See the about page to read more about the DG.
If you are still figuring out how to get your thrills for this Halloween, consider “The Woman in Black”: a chilling ghost story that tantalizingly unfolds its trove of mystery and terror in a deliciously eerie atmosphere at the dark, aged Olde Club as it begs the question–who *is* the titular woman in black? (I confess that even as I write this I keep glancing over my shoulder). For a particularly frightening experience, check out the special midnight performance on Halloween (Tues., Oct.31). The show runs from opening night on Saturday through Halloween, with evening performances at 7:00 p.m. each night.
by Miles Skorpen“The Woman in Black,” itself a play, takes place in a theater, where lawyer Arthur Kipps is seeking help from an actor to re-enact a terrifying event from his past, in hopes that he, Kipps, can finally free himself from that event’s torturous hold. It is difficult for him in the beginning to relive his story, but Kipps is soon able to reveal more and more of what happened to him many years ago, when he was sent north from London by his firm on business; when he met the Woman in Black.
The play was adapted by Stephen Mallatratt for the stage from Susan Hill’s original novel, which was published about fifteen years ago. Most “ghost stories” in recent times are difficult to imagine as a live performance, seeing as how there is so much emphasis on visual terror (think: Texas Chainsaw Massacre). This is why Hill’s concept, and the play resultant, are noteworthy.
Hill was inspired by the Victorian style of ghost story, which was propelled by such writers as Wilkie Collins, author of “The Woman in White,” an inspiration in and of itself to Hill. In that style, before violence and gore predominated scary stories, there was an emphasis on the psychological fear, which grew in the audience’s mind not from what they saw so much as from what was suggested and left up to the imagination. “The Woman in Black” was written with such an emphasis, and yes, it is frightening, and translates well to the stage.
The idea to bring “The Woman in Black” to Swarthmore was that of Brady Gonsalves, LPAC production supervisor and the play’s director. Gonsalves first came across this title some time ago in a drama bookstore in New York and, before the afternoon was out, ended up reading the entire play.
“The hairs on the back of my neck were standing up,” Gonsalves says, describing his initial reaction.
After joining the LPAC staff a year ago, Gonsalves learned that as a staff member he was eligible to propose ideas to Drama Board, which he did, in conjunction with Phil Katz ’07, and “The Woman in Black” was set in motion with Gonsalves as its director and Phil Katz the producer. The choices of venue and opening date were clear–“Olde Club is an absolute perfect match, and [the play] is great for Halloween,” says Gonsalves.
With a production staff comprised of students from all classes, and one alum, two freshman actors, the “perfect” setting, and a fitting occasion, “The Woman in Black” has become a story, an atmosphere, and an experience that will leave you terrified and bewitched…and satisfied, that you finally know who or what that mysterious woman is.
But you won’t believe what happens before you find that out.
