CULTURE GECKO
Persephone’s The Woman in Black is a Marvelous Technical Feat Evoking an Exquisite Theatrical Campfire Ghost Story
By Ezekiel McAdams
October 24 2025
*Persephone’s The Woman in Black is not your typical production. The production is very technical drawing on the audience’s senses and because of that it’s best to not delve too much into spoiler territory or much detail. It’s best to think of this as a theatrical campfire ghost story and go in with an open mind and enjoy the ride. - Author’s Note*
Persephone Theatre's second production of their fifty first season, is The Woman in Black.
The Woman in Black is directed by Joshua Beaudry, written by Stephen Mallatratt and stars Matt Burgess and Jonathan Pickrell.
The production runs October 22nd to November 2nd 2025 on Persephone’s Man Stage in Saskatoon, Saskatchewan, Canada.
The Woman in Black is a gothic horror novel that was written by Susan Hill in 1983. The book was adapted into a stage play by Stephen Mallatratt in 1987. It had at successful thirty four run on London’s West End from 1989-2023.
The plot focuses on a frightened individual, Kipps, recounting his experience in a manor as an unnamed actor helps him polish his stage presence and confidence.
This production is a stunning work of theatre allowing the technical aspects of the production such as lighting and sound to truly shine and be additional characters in the play. This is akin to a campfire ghost story, where a storyteller envelops the audience until the grasp is so tight they are completely immersed in the tale, allowing their imagination to take over.
Beaudry’s direction is so nuanced, precise yet distinct allowing the technical aspects to roll in like a slow uneasy fog, slowly and carefully ratcheting up the tension while allowing the actors’ performances to be captivating and mesmerizing.
Burgess plays multiple roles as the play slides back and forth between reenactments between Kipps and the actor, allowing Burgess to slip in between characters effortlessly balancing various affectations, physicality, tone and cadence.
Burgess plays Kipps with such a haunted, frightened and broken conviction. Burgess is magnetic as his character, Kipps recounts the events which lead him to writing, then performing his manuscript for family and friends before the actor intervenes to help him perfect his stage presence and performance.
Pickrell plays both the unnamed Actor as well as playing Kipps in the reenactments. Pickrell portrays the Actor as confident, self assured and more charismatic then Burgess’ performance as the broken and emotionally withdrawn Kipps.
It is when Pickrell plays a version of Kipps in the reenactment that a terrific role reversal occurs which allows Pickrell to descend into the same madness that Kipps displayed at the beginning of the production.
Carla Orosz’s set design is a sight to behold as the set shrinks, adding pieces like a ever-growing jigsaw puzzle. The set adds nuance allowing the audience’s imagination to detour or grow as the performances and the technical aspects are all consuming.
Jensine Emeline’s costume design is simple, elegant and rich drawing from the Victorian era the play is set and another cog in the machine that allows this production to fire on all cylinders.
Jeff Pybus’s lighting design and choices are an additional character in and of itself and Pybus’s work is simply stunning and award worthy as the light’s brighten, dim or saturate the production’s set and aesthetic adding an uneasy tension or welcome reprieve that hold the audience by tenterhooks allowing this ghost story to marinate ravenously.
If lighting was an additional character it’s joined by the ominous sound design by Dave Clarke. Clarke’s work is haunting, allowing the production to descend into trepidation where every sound, noise is important to the successful interrogation of the audience’s sensibility allowing the fear, warmth and tension to be part of this macabre buffet.
Clarke’s work is also award worthy and part of the reason that makes this production unforgettable.
Finally, special mention goes to Paige Francoeur as assistant director, Charlie Peters as apprentice lighting designer, Liam Scramstad as apprentice sound designer, Ricardo Alvarado as stage manager, Aaron Shingoose as assistant stage manager, Sam Fairweather as apprentice stage manager and Alison Deon as dialect coach. Each individual is essential and integral for allowing this production to come to life and be as an immersive experience.
Persephone’s The Woman in Black is a quintessential campfire ghost story where the production’s technical aspects make this an immersive, enveloping theatrical experience that not only is unforgettable but hopefully will not be forgotten as surely its marvelous aspects linger.
Persephone Theatre’s The Woman in Black runs from October 22-November 2 2025 at Persephone Theatre’s Main Stage in Saskatoon, Saskatchewan, Canada. Tickets can be bought online here, the box office or the venue itself.