Time to be terrified. Yes, life itself is terrifying enough on a daily basis; isn’t it scary when a Tory party donor can call for a female politician to be shot?

But if we can choose our moments to be frightened . . . ? Well, that can be comforting says the star of The Woman in Black, the dark, psychological theatre play arriving at the Theatre Royal in Glasgow.

“People like to be terrified in a safe environment like a theatre,” says Malcolm James. “It means we can face our darkest fears and then go home again afterwards.”

Getting together in large groups is what makes us human. We crave collective consciousness. And The Woman in Black certainly offers up the opportunity to clutch tightly at the sleeve of the person sitting next to you.

The play tells the story of Mr Kipps, a solicitor who is sent to a remote village in the north of England, to sort through the documents of Mrs Alice Drablow, the owner of Eel Marsh House.

A spooky and remote house in the middle of the marshes, this means that when the tide comes in the house is cut off from the local village. Meanwhile, in the village, strange things happen, and the villagers feel uneasy about Mr Kipps’ presence and his business at Eel Marsh House.

READ MORE

Review: Hamilton, Festival Theatre, Edinburgh, is an exhilarating musical

Glasgow Comedy Festival: Who is on and how to get tickets

Review: A Giant on the Bridge, Traverse Theatre - a heartfelt construction

Back at the house, however, that’s where the strangest things begin to happen when Mr Kipps spends a dark and terrifying night there alone. When he encounters a woman in black and begins to lose his sanity he comes up with an extraordinary idea, (and very clever plot device). He enrols the services of a young actor to re-enact his experiences and so purge himself of the entire episode.

He hopes.

As a result, the audience is treated to is a psychological circus, part ghost story, part thriller and part metatheatre.

There’s little doubt the combination has been hugely successful, with the play being second to the Mousetrap in terms of grabbing West End theatregoers by the throat, watched overall by more than seven million.

Malcom James, however, believes the play works because it operates on so many levels. It doesn’t only cut hard into the workings of the central nervous system.

“Well, there is quite a lot of humour and wit in the opening sections, to lull people into a false sense of security,” says the actor who discovered his professional calling while studying at Oxford.

“But it is fascinating how people’s reactions vary. Sometimes the audience is very vocal and gets carried away, especially when we have school children in - because it is a GCSE text - and they sometimes try to out-scream each other. Or there is a really weighted silence that makes people jump. But there is always a feeling of dread, of suspense, and it’s very psychological. It is a roller-coaster of a show.”

Playing the role of Mr Kipps is exceptionally demanding given he plays seven different characters in the production. “It’s a very technical show and has to run like clockwork, plus there are lots of costume changes, which continues to be a challenge.”

The actor, who first appeared in the play in 2015 admits to being affected by the content. “It was a bit creepy in rehearsals,” he says. But despite his time spent on the play he still gets a kick out of knowing when the big moments are coming and waiting for the audience’s reaction.

“We had a funny moment in Crewe last week when a woman shouted out ‘That’s done it for me.’ And there has been the odd person carried out hyperventilating, but the ones that stick it out say it’s very effective. And it is. It really works. I saw it a few years before I was offered the part so was thrilled with the challenge when offered the role.”

The production itself is perfectly placed to draw an audience into a world of gothic terror. The use of candlelight and shadows drags us into the darkness of our own minds. The slanted stage conspires to make our head confused and offer a creeping sense of foreboding. Sea mists suddenly appear, covering the causeway to the house, while sounds emerge from specific locations, such as the voice of the vicar laying the old lady of the house to rest.

But what will really delight theatre audiences is the number of jump-scares. Expect lots in this production of author Susan Hill’s ghost story. But they still won’t be as scary as our political headlines.

March 26- 30, The Theatre Royal, Glasgow.

Don’t Miss

Blue Beard, a magician who makes hearts flutter and pupils dilate. With a wink, a stroke and a flick - things just seem to vanish. Cards, coins, scarves - and women.  But he meets his match when his young bride discovers his dark and murderous secret. She summons all her rage, all her smarts and all her sisters to bring the curtain down on his tyrannous reign.

The Royal Lyceum Theatre, Edinburgh, March 13-30