In Josh Sticklin’s uneven direction, life imitates art, but not favorably. woman in black at the Keegan Theater. Based on the Gothic horror novel by Susan Hill, this play by Stephen Malatrat follows an elderly Englishman, Arthur Kipps (Robert Lienbrüggen), as he reads out a story from his past that still haunts him. It begins.
An actor (Noah Mutterpaar), watching from an empty house, criticizes Kipps as he meekly reads a script by himself on the stage of a Victorian theater. The actor, instilled in Keegan’s audience, tries to coax more convincing words from Kipps, translating his words so that the intended audience can visualize every detail and experience every emotion. Teach students to express themselves vividly.
Although Kipps has long avoided revisiting these events, he wants to get his point across, and Lehnbruggen conveys that feeling with a relatable urgency. So Kipps is willing to work with actors to most powerfully portray this tragic episode from his past.
But as the duo gets into the story, and the cast switches roles, with Mutterpaar playing young Kipps and Lehnbrüggen playing multiple characters young Kipps meets, the production needs someone to step in and create a more convincing story. You start to feel like you need to convince yourself of a certain story. delivery.
Director Sticklin also designed Gothic and very active sets, including an eerie churchyard and the Eel, a strange old mansion on the outskirts of London where Kipps, a lawyer, is called to fill out paperwork for a deceased widow. Includes locations such as Marsh House. Centered around a turntable stage, different environments overlap, with fixtures, furniture, and props all blending together in smoky black.
From the streetlights echoing in the churchyard to the chandeliers hanging above antiques wrapped in white linens, Sticklin creates a charming atmosphere for the story of a Victorian haunted house. Atmosphere and pacing are greatly facilitated by the light sage green lighting. Strobe interludes and light bulb transitions effectively build tension, especially when the turntable really starts to spin.
But the rotating sets and occasional frenzy, and overall dynamic performance by Mutterpaar can’t overcome the lack of consistency in the storytelling and the lack of complementary chemistry between the two players.
As Mutterpaar’s wide-eyed young Kipps relives a time of terror and turmoil at Eel Marsh, Leenbrüggen writes an essay about the local landowner, Mr. Daly. Mr. Daly met Kipps on his way from London and knew the deceased widow. He is also Keckwick, a villager who uses ponies and traps to lead Kips to Eel Marsh. However, Lienbruggen does not draw very strong distinctions between Daly and Keckwick or any of the multiple parts he is responsible for.
Therefore, each fragment of the story reflects only names and information, and not much personality. And as young Kipps attempts to piece together the secrets and mysteries of Eel Marsh with the help of locals, plans go astray. The fragmented narrative does not truly connect the dots until Daly later compiles the legends surrounding the house, the widow, and the woman in black that Kipps glimpses in the churchyard.
Indeed, the problem raised by Kipps at the beginning seems to fall on the production side, and the speech does not conjure up a clear enough image. woman in black together. The elements that are supposed to be the icing on the cake, such as timing and expressive comedy, mostly fail.
At least some elements of suspense are well incorporated, as well as some creepy reveals that capture the visceral sense of fear that is missing from this pale ghost story.
Woman in Black (★★☆☆☆) The show will run through Nov. 17 at the Keegan Theater, 1742 Church St. NW. Tickets are $54, with discount options available. visit www.keegantheater.com.
Source: Metro Weekly – www.metroweekly.com
