A Conversation with Daniel MacPherson

Premiering last month at The Empire Theatre in Toowoomba and now having fully commenced its Australia tour, producer Woodward Productions is bringing the second-longest performed non-musical theatrical work from London’s West End, The Woman in Black, to audiences across the country between now and mid-August 2024. This production is most notable due to its very small cast carrying the full two hour play from start to finish – with Australian acting legend John Waters serving in the role of Arthur Kipps, and acclaimed actor Daniel MacPherson serving in the versatile role of The Actor. It is a dark and harrowing tale, quite unlike many of the more upbeat and colourful musicals which often are on the receiving end of an Australian national tour, but one rich in narrative and worth checking out.

Daniel MacPherson has a comprehensive history in television, film and stage. In film and television he has most recently starred as Sam Levine in Russell Crowe’s Poker Face, Hugo Krast in Apple TV’s Foundation and also recently reunited with Russell Crowe in the 2024 action-thriller Land of Bad. This is in addition to a wide range of appearances on productions in Australia and overseas, including Strike Back, The Shannara Chronicles, The Bill, Neighbours, Wild Boys, City Homicide and more. Regarding the stage he has a history of musical and non-musical production, including 2023’s 2:22 A Ghost Story, the London and UK production of Godspell and more. Interestingly, he is also a six-time Ironman Triathlon finisher.

Amongst his undoubtedly busy schedule performing in such a demanding role 8 times a week, we are greatful to Daniel MacPherson for taking some time out of their schedule to provide some insights into his time with The Woman in Black, the production itself and more. You can read our full Q&A interview below:

The Woman in Black has a rich history and has been adapted into various mediums including film and stage. What drew you specifically to the theatrical production of this story, and also, what was your first encounter with The Woman in Black as a whole?

In 2023 I returned to the theatre for the first time in almost 20 years – for the play 2:22 A Ghost Story –  and it was like reuniting with a long lost friend! I had done plenty of theatre and touring in the UK in my early 20s but film and TV had taken over. When the opportunity came to do The Woman in Black, I just jumped at it. I knew of its incredible history in the West End, and I knew that it would be an enormous challenge for me – which really piqued my interest. Then to work opposite John Waters – well that was a no brainer. Where I had previously read the script, I had never actually seen the show. So in February this year, I flew myself over to LA and hired a big old Dodge Ram and drove out to Phoenix to see a touring UK company perform the show at the Herberger Theatre. Playing my role of The Actor/Young Kipps was the incredible Antony Eden, who would come out to Australia 6 weeks later to be our Director.  

The relationship between ‘The Actor’ and ‘Arthur Kipps’ is central to The Woman in Black, and I imagine the camaraderie and dynamic between yourself and John Waters is just as if not more important. What has your time working alongside Waters been like so far?

John is an absolute gentleman, and creative maestro and an indefatigable professional. We have a similar work ethic, and expectations for the show, as well as a wonderful easy mateship. We bond over coffee and English football when we aren’t working. He is a wonder to watch onstage and I get the best seat in the house. No matter what I throw at him on stage, most often spontaneously and without warning – he is always there to catch it and throw something just as interesting and alive right back at me. He’s the ideal wingman for a show – and a tour – such as this one. 

As ‘The Actor,’ you portray various characters within the play. How do you approach the challenge of embodying multiple roles and maintaining clarity for the audience?

It is definitely something that I have worked hard on, and continue to refine daily as the show begins to tour.  The two characters I play exist in different time periods, and are very different men – one being a younger version of John’s character Arthur Kipps. For me that means different physicalities and movements, and very different ways of speaking. I work with a vocal coach, the wonderful Anna McRossin-Owen, who helps me to work out the specifics of each characters voice. As well, there is plenty of observation of John and the way he moves as he portrays older Kipps. It is a wonderful challenge, I love it. John also shifts effortlessly between 7 characters in the play, it is absolutely awesome to watch. 

With such a small cast and a two hour runtime, how do you prepare to embrace the themes of the production and demands of the role eight times a week?

It is absolutely gruelling, there is no way to skirt around that. Touring is hard at the best of times – It is hard on family and relationships and lots of areas of your life – but when it is just the two of us on stage for 2 hours, it is a whole new level. Thankfully, we have a wonderfully enjoyable, rewarding play to perform each time. John and I have a lot of fun up there on stage, despite the weight of the show’s themes. When you add in intimate venues, and a responsive audience enjoying themselves, then that makes it all worthwhile. The demands of the show have already forced me to work deeper into my acting craft and vocal techniques to create a performance that is, I hope, both rich and compelling, yet also sustainable. 

You have now commenced your Australian tour, having premiered at The Empire Theatre in Toowoomba and (as of writing) are now at the QPAC Playhouse. What have your thoughts been on the audience reception so far, and have there been any particular highlights of the tour?

We have played 3 venues so far, with previews at the stunning Empire Theatre in Toowoomba. Brisbane saw a fantastic response and it was wonderful to see the QPAC Playhouse sold out every night for the second of our weeks there. Our first standing ovation at opening night in Brisbane – with my mum in the audience – will be for me, unforgettable. John and I knew that we had a strong show on our hands after that night, despite, at that point, only having performed it onstage 5 times.  Adelaide has been beautiful also, full houses and wonderful responses. The Dustan playhouse is cosy and intimate and the audience is right at the end of our fingertips. It’s pretty awesome! We’ve had some incredible shrieks from the audience, a few swear words and one lady even admitted to spilling red wine over herself!

Australian theatregoers are very likely to be familiar with your varied roles in television and film. How does performing on stage in a production like The Woman in Black differ from other acting mediums, and what do you find most rewarding about live theatre?

There is a wonderful of exposure and vulnerability that comes with working in theatre, and I really love that. The Woman in Black is even more exposing than most – with just two actors and minimal props, it is so heavily reliant on pure acting ability. It is like a gym workout for your acting.  It is very special to have a room of people right there with you on your characters’ journey, and then to have a reaction at the end of the show like we do, is just so satisfying! 

John and I turn ourselves inside out for this show, 8 times a week, and to have that witnessed and appreciated is really rewarding. I love the depth at which you truly learn the material during a long run of a play. The muscle memory and subconscious recital allows for a level of freedom that I enjoy. I also love the notion that, unlike in film or TV, if I have a new idea or an area of the play I want to explore further or dig into, I can just try it out that night. Unlike on screen – where once the performance has been filmed and the day is wrapped, it is out of your control. 

In the last couple of years, Australian audiences have started receiving more stage plays from London West End – especially those such as The Mousetrap and The Woman in Black. Why do you think that these shows have enjoyed such long-lived tenures?

I think ultimately, they are just incredibly well structured, well written, and have been refined over many many years. They are very robust, solid, classic pieces of theatre and I think they deserve their places in on stages around the world. I’m honoured to get to take ownership of a play such as The Woman In Black for a few months given its rich and successful history.

I would like to pass on my sincerest thanks to Daniel MacPherson for their valuable insight into the production, and their role as both an Actor and ‘The Actor’ for this production. I wish them all the best for the remainder of their season. I would also like to pass on my thanks to the Australian producers at Woodward Productions and Neil Gooding Productions, and the media team at IP Publicity for facilitating this opportunity amongst the tour’s schedule.

Have you read this interview and keen on seeing The Woman in Black for yourself? While sadly there are no more planned legs up here in Queensland at the time, there are still seven more legs in the play’s 2024 Australian tour. A list of dates, cities and venues can be found below, and booking information is all available via the official The Woman in Black website, as ticketing specifics may differ from venue to venue.