The staging consisted of three levels. The first was the starting point of the play, a front level which was altered by the actors to accommodate parts of the tale. The majority of acting took place here, and was available to the audience in full view. The second section was used primarily for Nathaniel’s nursery. Thirdly, there was a back section which constituted the staircase in which Kipps climbed during the hauntings. Each section in turn was concealed by gauze, a semi-transparent curtain that becomes clearer when light is shined from behind it. This made the back two levels look somewhat musty and distorted, something which helped greatly to establish an atmosphere of dilapidation, mystery and creepiness which one would expect of Eel Marsh House.
Watching the performance, I committed to memory several moments of the play which were outstanding. First of all, I was particularly impressed with the graveyard scene which had truly engulfed the audience into a state of horror. This was accomplished by the clever use of lighting, sound and waves of tension which were established. The faces of the characters were only just visible, in a sort of half-light which was projected upon the stage. This drew the audience in, making them concentrate hard on what was happening and therefore amplifying the moments of shock when they arrived. As Kipps and Jerome anxiously mourned, the audience could upon occasion sight the figure of the Women in Black. Never in her entirety, just a rustle of silk here and the cast of a shadow there, enough for the audience to gain apprehension of a horrific spectre, but never get close enough to reveal her secrets.
As I have mentioned, the audience’s differentiation between characters was of ample importance. Whilst there were many ways in which this was achieved, the use of voice by the actor was very significant. From the upper crust accent of the executive lawyer Mr Bentley to the Yorkshire dialect of Sam Daily, voice greatly defined the characters and was also suggestive of their personalities. Speaking in queens English often suggests intelligence and haughtiness, whilst a broad Yorkshire accent suggests the reverse. This is an interesting matter raised by the play, and as it unfolds one can’t help but feel a sense of irony. Kipps, the well-to-do, well educated lawyer who regards the Yorkshire population as simple folk who conjure up stories to ‘squeeze whatever they can from life.’ In the end, his arrogance is quashed, turned instead in to terror and panic by a force in which he had thorough disbelief.
I thought the character of Keckwick was a particularly hard character to portray and define, due to the fact he says so little. Nevertheless, in my opinion this was successfully achieved in the production. A Trap driver transporting people from Crythn Griffin to Eel Marsh House, Keckwick almost seems as secretive as the house itself. The character of Keckwick in the production wore a long coat, as if to conceal himself from the audience. The few words he did speak were in a gruff and haggard voice. The horse and trap was created by the actors sitting on two crates and simulating the motion of the trap passing over the rough drive. The minimal use of props was effective in my opinion as it forced the audience to use their imagination, and stays loyal to the notion of the actors making their own stage.
Special effects were used simply in the play, not only due to the fact it is a low-cost production, but also to enrich the audience’s imagination without overloading it with the likes of gory eye candy which is seen too frequently in other productions. The main area of special effects used was sound. The stage was frequently transformed into many locations using this medium: a marketplace with the hubbub of speech, a graveyard complete with squawking crows and of course an eerie marsh where the wind howls and groans like a beast. All allowed the audience to be there, and helped them to form a mental picture of the surroundings. One of the most notable uses of sound was during the hauntings. A shrill and piercing scream was amplified from speakers positioned around the theatre, giving the impression it was coming from somewhere within and leaving more susceptible members of the audience to believe the Women had come to haunt them.
The audience’s reaction to the play was overall one of horror and disbelief. The presence of a spectre could constantly be felt, whether it was from the apparent unease of the characters whenever the Women was mentioned or from the appalling screams which filled the theatre during the hauntings. There were also some comical scenes which went down very well with the audience, notably at the beginning when Arthur Kipps monotonously reads his Manuscript and also the subsequent determination of the undeterred actor despite this: ‘We’ll make an Irving of you yet!’ Moments such as this add another aspect to the play, and help to lull the audience into a false sense of security.
To conclude, the performance in my opinion was above average; the level of audience interaction was excellent, the acting was of a high quality, and consequently the characters were believable. When you have an audience who believe in the characters, they come to life, not only on the stage but in the audience’s imaginations, something which is invaluable in an authentic ghost-tale such as this one.
