Creation Theatre have returned to what they do best; intimate plays performed in unique locations in Oxford. This time they’ve take over the Wesley Memorial Church with a new adaptation, first heard on Radio 4 over Christmas, of Charles Dickens’ ghost story, The Signalman.

For those unfamiliar, this is a tale that follows a traveller who joins the titular figure in his signal-box over the course of a pair of evenings. The signalman divulges that a ghostly spectre has been appearing by the mouth of a tunnel, acting as a precursor to tragedy on this part of the line. This intimate (mostly) two-hander weaves its tale delicately, driven by a chilly atmosphere as the narrative heads towards its dark dénouement.

This isn’t the first time The Signalman has been adapted since its publication in 1866 and it is, perhaps, most famous thanks to its presence in the BBC’s Ghost Story for Christmas run in the late 70s. And the timelessness of this tale is felt in the relevance of its content, playing out on a backdrop of the dehumanising impact of industrialisation. The extent to which there is something truly supernatural going on is kept in doubt right up until the final moments.

An accomplished ensemble take on this story, with much placed on Nicholas Osmond’s traveller. His is a turn full of pathos and warmth, as well as an underlying sense of trauma. Osmond is compelling, particularly during his interactions with Anna Tolputt’s Signalman, a tragic figure that Tolputt effectively underplays whilst never losing the pathos we feel for them. So much of The Signalman relies upon these two and much of its triumph comes from them. Herb Cuanalo offers great support in a pair of small but key roles, his interactions with Osmond as Carter offer early humour, whilst also drawing nicely into an urban vs. rural dichotomy at play. And Cuanalo’s return as the Train Driver helps propel the piece to its most chilling moment.

The locale Creation has chosen is superb, bringing a wealth of atmosphere. Add to this Matt Eaton’s sensational soundscape and the play is wrapped in a haunting atmosphere from the moment we take our seats. Jonathan Holloway’s adaptation is effective, transporting a first-person narrative into a more expansive theatre piece, with The Signalman benefitting from a fascinating stage design, as well as use of all of the levels Wesley Memorial Church has to offer.

It is exciting to see Creation back in their prime, proving one of the more versatile theatre companies on the scene. With Much Ado About Nothing to come this summer, it feels like the theatre company is back doing what it does best, and The Signalman (whose run has been extended until the 31^st March) is a chilly delight worth seeking out.