The Signalman - UK Tour - Review

★★★☆☆

There’s something exciting about a ghost story staged just as the nights grow longer, and Francis Evelyn’s adaptation of The Signalman certainly leans into that allure. Touring the UK through 2025/26, this production aims to haunt as much as it entertains. But does this retelling of Dickens’s tale of dread and premonition manage to terrify, or does it leave us wanting a little more beyond the fog-shrouded tracks? More importantly, can a story written in the 19th century still captivate a modern theatre audience in 2026?

The full cast of The Signalman

In the bleak isolation of a Victorian railway cutting, a signalman is haunted by unsettling visions: a ghostly figure that appears as a warning of tragedy on the line he is sworn to guard. When a traveller stumbles upon his lonely post, the two men strike up a conversation that plunges them both deeper into questions of fate, guilt, and the inexplicable nature of the supernatural. As the signalman descends further into psychological unease, the tension between what is seen and what is feared becomes the engine driving this compact yet suspense-fuelled story.

At its best, this production captures the creeping dread that makes Dickens’s original so compelling. The way it manages tension using silence, stillness, and carefully calibrated sound is a definite strength. The echo of unseen trains, subtle rumblings and crackles, and the well-timed arrival of smoke from the fog machine all contribute to a visual and aural landscape that supports the storytelling rather than overwhelming it. In moments, these choices evoke real chills and make the world of the play feel both tangible and unsettling, drawing audiences into the signalman’s isolated reality.

Chris Walker’s performance as the Signalman anchors the production with an admirable combination of calm professionalism and, in the second half, palpable unease. In Act One, Walker presents a man quietly competent in his duties, setting the stage with subtlety rather than spectacle. As the narrative tension mounts in Act Two, his descent into anxiety and fear becomes far more animated and compelling, providing one of the evening’s most convincing arcs. It’s a measured build, the sort of character evolution that rewards patience and close attention.

John Burton (The Traveller) and Chris Walker (The Signalman)

Opposite him, John Burton’s Traveller offers a steady counterbalance. Burton is at his best in contemplative, narrative moments, carrying the weight of the story with engaging clarity and a natural ease that never feels forced. However, there are occasions, particularly during emotional outbursts, where his performance feels slightly out of sync with the production’s overall tone, emerging as unexpectedly intense rather than a seamless continuation of his earlier restraint. This momentary dissonance can nudge the audience out of their immersion, but it doesn’t derail the experience.

The supporting ensemble, James Morley, Bruce Chattan and Adam Mort, appear in brief turns. Their contributions help flesh out the story's world without overwhelming the main narrative.

A highlight of the production is the stunning set design. On the left, a dark and mysterious railway track leading to a tunnel video screen; on the right, a semi-exposed signal box, filled with books, keepsakes, and signalman tools that hint at the protagonist’s life. Little touches like rattling doors, falling objects, and the odd cupboard swinging open are intended to heighten the sense of unease, though on occasion they tipped toward the obvious. Too often, what should feel like mysterious, organic movement appears to be a stagehand too visibly pushing a crucifix off a shelf, and that noticeably undermines the illusion.

And while the smoke effects are used with real theatrical intelligence, billowing at the precise moment a train passes, rather than feeling gratuitous, not all the tricks in the production work as well. The ghostly apparition, for instance, often feels more cartoonish than chilling. In a story where suggestion and ambiguity are supposed to fuel the horror, a softer, blurrier projection might have served the mystery better. What is intended to be spine-tingling instead comes across as unintentionally amusing, and that undercuts the tone the rest of the show so carefully builds.

The supporting cast of The Signalman

Technically, the production is ambitious, but some choices unintentionally distract. Microphones placed on the floor of the signal box pick up every shuffle of feet, making footsteps louder than dialogue at times. A more refined miking approach, such as lavalier microphones, would allow the text to breathe without competing with incidental noise. The lighting design also alternates between being very dark and surprisingly bright in the box, creating a strain on the eye that can leave the audience fatigued rather than eerily attuned to the atmosphere. These are technical issues rather than conceptual failings, but they are noticeable enough to affect the show.

Structurally, Act One leans heavily on dialogue between the two leads and can feel somewhat static and stationary as a result. That isn’t to say it is boring; there’s a richness to the writing and the worldbuilding. Evelyn’s adaptation retains the lavish descriptive writing of Dickens, but the staging sometimes doesn’t give that room to fully unfold in action until Act Two, when fear and discomfort allow for more physical motion. It’s in that second half, where the tension loosens its grip on restraint and allows the characters to move more dynamically, that the production truly comes alive.

Despite these imperfections, The Signalman carries an undeniable gothic charm. It knows its audience: not every piece of theatre needs to pander to the lowest common denominator or chase quick thrills for the shortest attention spans. Instead, it embraces a slower burn, relishing atmospheric build-ups and psychological unease in a way that resonates with lovers of classic ghost stories. In a theatrical landscape crowded with spectacle and high tech, this humble production reminds us that simplicity, when executed well, can still deliver genuine goosebumps.

If you’re intrigued by psychological thrillers and want to experience a British classic brought to life with thought and care, The Signalman is worth your time. It may not redefine theatrical ghost stories, but it does offer an atmospheric ride worth taking.