"The Signalman" by Rumpus Theatre Company.

Nottingham Theatre Royal.

The play, which has been written by John Goodrum, is based on a Charles Dickens' Victorian ghost story.

A terrified signalman unburdens himself to a young student who just happens to be at his railway cutting. He tells a chilling tale of the spectre that haunts him, and the terrible disasters that follow each appearance...but what horror is the ghost trying to warn of this time? And is the young man’s visit quite so innocent as it at first appears?

Railway stations have always held a certain eeriness for me, especially the older ones, and the later into the night it gets, the spookier those places become. In all the best horror stories, the story builds and builds and this is one of those slow burners that make you feel uneasy, even before anything has happened, but when they do....... well, I couldn't possibly spoil the ending for you! Let me just say, if you like the jump scares in "The Woman In Black", you will love this show.

John Goodrum plays The Signalman, Joseph Standcot, and also designed the set. John acts with all of his being; pay attention to his face because a lot of the fear and unrest that Standcot holds becomes apparent through his face.

There's a lovely isolation at the start and in parts of John's performance which creates that feeling of being unaware of the outer circle that Standcot creates about himself.

The original Dickens' short ghost story has been well and truly fleshed out by John to give an incite into both main characters' past, and to present a well rounded character driven story. Act One which presents the Signalman's story with Act Two focusing on the young student's back story.

The student, Richard Brightwell, is played by Pavan Maru, who you may recognise via this year's Classic Thriller Season with Tabs Productions. I've seen Pavan in three of these plays this year and what strikes me about him is his ear for accents and creating a completely different character every time. Ok, you say, that's what an actor is supposed to do, but his ear for accents, in this one he gives a perfect RP University student accent, nice and crisp, is something that I appreciate. And let's face it, not all actors can do accents or breathe life into such varied characters.

As with John, you can't take your eyes off of Pavan, and between this pair they keep you transfixed as they reel you in with this spooky spectral story.

David Gilbrook plays the Train Driver, as well as being the Sound Designer for this play. David appears right at the end of the play to relate to Brightwell the story of the mystery train, and the red light warnings.

There is also something about the sound of a steam train whistle hurtling towards you that sends images of the supernatural to your brain and creating that aural approach sends the hairs on your arm standing to attention.

Directed by Karen Henson, who really goes to work creating that uneasy atmosphere with the lighting, sound effects, smoke and the unsettling music soundscape, which are also listed in the programme, in case you want to check the music out for yourself. Karen is one of my favourite Directors because she knows the right recipe to create unease and get the tastiness out of every actor she directs. The Director's equivalent of Nigella Lawson, because every show leaves you wanting more.

Keith Tuttle is the Lighting Designer and there is plenty to note here. The main part of the stage is in almost a twilight looking light, and then there is the brightly lit Signalman cabin which seems to create an eery glow of its' own. The tunnel, which looks to be almost life size - it probably is - also comes to life when the smoke billows out and that ghostly light starts at dim and then to blinding. There's also a kind of foreboding feel when the red light at the tunnel entrance starts to glow, because you know exactly what that signals.

The above also describes what the set looks like, apart from down one side of the stage which depicts the depth of the railway siding, blocking out any light from above but gives an idea of how far Brightwell has to venture to exit and enter the siding. An uncluttered realisation by Pete Siddon and constructed by Clive Goodlad. The slightly distanced calling to the Signalman by Brightwell also creates distance in your mind.

The auditorium was almost silent throughout, which meant that you heard everything from the stage. These actors know how to project and the acoustics of the Theatre Royal compliment their art of projection. It also shows that the audience were actually listening and were invested in the story and the performances.

Rumpus are also brim-full of professionals, and I know them well enough to know that they are perfectionists in their craft, and that is what you get from them, perfection.

If you want to see this chiller, you better get your ticket fast as it's only standing in the Theatre Royal holdings until Wednesday 13 September.