It comes as a surprise to note that Susan Hill’s popular gothic novel was only written in the seventies, for it would fit comfortably among the stories Edgar Allan Poe, or perhaps Dickens’ sporadic forays into the supernatural genre. But some things never go out of style, and if this atmospheric theatrical adaptation feels a touch unoriginal and, perhaps, predictable, as long as people are mortal a good ghost story will resonate.
By blurring the lines between fiction and reality an ambiguity is created that adds to our discomfort
Solicitor Arthur Kipps (Robert Demeger) enlists the aid of an actor (Peter Bramhill) in order to stage a supernatural experience of his he needs exorcising. The drama therapy starts off shaky but soon the two are vividly portraying the ghost story with gusto. Kipps, played by the actor, attends the funeral of a client. Soon, the nervy locals get Kipps’ attention as he discovers the reason for their fear of the deceased.
A book that may appear to be untranslatable to the theatre, Stephen Mallatratt’s adaptation works on the stage because of the ingenuous plot device he adds; instead of just being a play about a ghost, it’s a play about a play about ghosts. This goes some way to combating the reassuringly quaint material; by blurring the lines between fiction and reality an ambiguity is created that adds to our discomfort. It also makes it credible to watch and elicits the help of that thing which generates the most fear of all: our imagination. Both actors convey their roles well, with Demeger bringing to life a host of diverse characters that all have a strong sense of individuality. Director Robin Herford makes it effective by sticking to simple stage effects and prolonging the suspense so much you can feel the audience holding their breath. Hardly terrifying, and still less original, but a somewhat irresistible and agreeably eerie night out nonetheless.
Showing @King’s Theatre Edinburgh until 20th Feb, then touring
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