The Woman in Black at a glance

Show
The Woman in Black
London status
Fortune Theatre run closed 4 March 2023 after 33 years
Current status
22-venue UK tour, September 2025 – summer 2026
West End run
7 June 1989 – 4 March 2023 (over 13,000 performances)
West End audience
Over 7 million people
UK tour pricing
From £15 (typically £15–£60 depending on venue)
2025/26 tour run
24 September 2025 – summer 2026
Genre
Play (supernatural / ghost story)
Running time
Approximately 2 hours 5 minutes, including interval
Age guidance
12+ (contains intense scares, strobe lighting, and atmospheric effects)
Cast
Two actors: John Mackay (Arthur Kipps), Daniel Burke (The Actor)
Original novel
Susan Hill (1983)
Stage adaptation
Stephen Mallatratt (1987)
Director
Robin Herford (since the 1987 Scarborough premiere)
Producer
PW Productions
Worldwide productions
Over 40 countries since 1987

UK Tour 2025-26 — book now

Following the closure of the record-breaking Fortune Theatre run, PW Productions' 22-venue UK tour returns Stephen Mallatratt's adaptation to regional audiences. The original production — same direction (Robin Herford), same designs (Michael Holt, lighting Kevin Sleep), same two-actor format — now reaches venues across England, Scotland and Wales.

  • Alexandra Palace, London (8-26 Oct 2025 — played)
  • Richmond Theatre, London (25-29 Nov 2025 — played)
  • Darlington Hippodrome (6-10 Jan 2026)
  • Grand Opera House York (13-17 Jan 2026)
  • Theatre Royal Glasgow (20-24 Jan 2026)
  • The Alexandra Birmingham (27-31 Jan 2026)
  • Chelmsford Theatre (3-7 Feb 2026)
  • Oxford Playhouse (10-14 Feb 2026)
  • Lighthouse Poole (17-21 Feb 2026)
  • Liverpool Playhouse (24-28 Feb 2026)
  • Nottingham, Bradford, Peterborough
  • Malvern, Southampton, Guildford

Tickets from £15 · Tour runs through summer 2026

Book UK Tour Tickets on ATG →

Looking back: 33 years of The Woman in Black at the Fortune

4.6
★★★★½

LTH Retrospective Rating

The Verdict

The Woman in Black was one of the most efficient pieces of stage writing of the late twentieth century. Stephen Mallatratt's 1987 adaptation reduced Susan Hill's gothic novel to a meta-theatrical conceit — a Victorian solicitor hires a young actor to help him tell his story, and the rehearsal that follows progressively blurs the line between dramatised memory and present-day haunting. Two actors. One bare stage. A bench, a chair, a coat rack, and a curtained recess. From this, Robin Herford's production extracted some of the most reliably effective scares in modern theatre.

The Fortune Theatre run lasted from 7 June 1989 to 4 March 2023 — 33 years, over 13,000 performances, more than seven million audience members. It made the show the second-longest-running play in West End history, after The Mousetrap. The 22-venue 2025-26 tour, with John Mackay as Arthur Kipps and Daniel Burke as the Actor, keeps everything that made the original production work: the simplicity of the staging, the disciplined pacing, and the famous moments — which we will not describe here — that have made the show one of the most consistently terrifying theatrical experiences in Britain.

What Makes It Special

  • The two-actor conceit. Mallatratt's meta-theatrical framing — solicitor and actor "rehearsing" the story — gives both performers space to play multiple roles. The actor plays young Kipps; the original Kipps plays everyone else. The structure earns the play its economy.
  • Robin Herford's direction. Herford has directed the production from its 1987 premiere at the Stephen Joseph Theatre in Scarborough through to the current tour. The discipline of his staging — minimal set, no live dog, every effect earned — is the production's spine.
  • Specific famous scares. The show is built around two or three precisely engineered moments of theatrical shock that audiences have, for decades, been asked not to describe in detail. Word-of-mouth keeps each new audience genuinely surprised.
  • The 33-year Fortune Theatre tenancy. Outlived only by The Mousetrap in West End history. Generations of school groups, theatre clubs and casual visitors found their first ghost story through this production.
  • The price policy. Producer Peter Wilson maintained throughout the show's run a deliberate policy of keeping ticket prices within reach of students and young people. The tour continues that approach.

About the Production

What happens in The Woman in Black?

An elderly solicitor, Arthur Kipps, has hired a Victorian theatre to recount a true story from his past — a haunting he experienced as a young man that has shadowed his life ever since. Believing himself an inadequate storyteller, he has also hired a young Actor to help him perform the events for an audience of his family and friends. The play begins as the Actor coaches Kipps through his account, gradually persuading him to dramatise rather than narrate.

The setting and the assignment

Young Arthur Kipps — the solicitor played by the Actor — is sent from London to a remote town on the East coast of England. His task: to attend the funeral of his firm's elderly client, Mrs Alice Drablow, and then to retrieve and review her papers. Mrs Drablow lived alone at Eel Marsh House, a property accessible only by a causeway that floods at high tide. The town's locals will not speak about her, the local landowner Sam Daily seems reluctant to help, and at the funeral itself Kipps sees, briefly, a young woman in black with a wasted face.

Eel Marsh House

Kipps takes a pony and trap across the causeway and sets to work at Eel Marsh House — sleeping there, sorting papers by candlelight. By turns he hears noises in the marsh, sees the woman in black again, and begins to piece together a family tragedy involving a young child, an aunt, and a death by drowning. The framing device — that we are in a theatrical rehearsal — periodically interrupts. The audience is told that "sound effects" will be added, then the sound effects begin to feel disturbingly present.

The reveal

By long-standing audience convention, the play's final beats are not described in writing. The show has cultivated, like The Mousetrap, a tradition of audiences being asked not to share the ending. The reveal involves the framing device collapsing — the line between the story Kipps is dramatising and the reality of the auditorium itself dissolves with calculated theatrical force. Multiple audience members in 33 years of performances have reported leaving the theatre genuinely shaken.