Writers Theatre presents WITCH Review

When the lights go down at the top of Witch and the audience settles into their seats, the entire room goes dark - a convenient bonus of the intimate setting of Writers Theatre’s black box space in the Gillian Theatre. A spooky sensation spreads throughout the theater and suddenly a spotlight comes up on Elizabeth (Audrey Francis). She introduces herself as the Witch of Edmonton, and explains that she has had a “rough go of it” lately – which offers a fun joke for those who are at all familiar with the classic story. Elizabeth provides some context for the events we are about to watch unfold, and ends with a question for the audience to keep in mind:

“Do I have hope that things could get better?”

If you do have the hope, then perhaps you have nothing to learn from the story. But then Elizabeth continues with one last thought:

“If you don’t, then this is where we start.”

From there, the lights go out, and the story begins.

Writers Theatre presents World Premiere of Witch

Written by Jen Silverman and directed by Marti Lyons, Witch is inspired by William Rowley’s Jacobian play Witch of Edmonton. The classic story follows Elizabeth Sawyer, a woman forced to the outskirts of society who finds revenge on her neighbors through selling her soul to the devil. Witch takes that premise and blows it to a larger scale, complete with contemporary language that brings the story into a modern context of today.

Silverman’s play follows two main storylines – starting with that of Cuddy (Steve Haggard) and Frank (Jon Hudson Odom). While Cuddy is the son of Sir Arthur (David Alan Anderson) by blood, Frank is a son by adoption. The actors play this complex conflict over inheritance beautifully – highlighting the complex levels of jealousy that exist on both sides. The conflict is made especially clear right at the beginning, when the audience witnesses two separate conversations the “brothers” share with Scratch, or the Devil (Ryan Hallahan, with a charming stage presence that helps the audience relate and sympathize).

Then there is the story of the Witch of Edmonton herself, or Elizabeth (Audrey Francis, with impeccable comedic timing). As always in these stories, the Devil approaches her to make a deal, and Silverman turns that cliché on its head, creating an unexpected friendship that is exciting to watch unfold.

Thought-Provoking and Powerful Script

On the surface, Silverman tells the story of a Devil that enters a town and disrupts it at its core. However, Silverman expands the concept into a larger series of questions for her audience: For what are you willing to sell your soul? What is worth that sacrifice, and at what point is it us doing the Devil’s work ourselves? Can we blame the Devil, or is he simply an instigator?

Silverman adds complexity to each of the characters, allowing the audience to understand each of their motives as they move through the story – with the help of Lyons and a stellar ensemble. Frank may seem relentless, but Odom also masterfully highlights the clear conflict in the character with each decision he must make to find some semblance of power, allowing the character to illicit sympathy. Elizabeth as the “Witch from Edmonton” may seem like she has nothing to lose if she sells her soul, but in reality, there is far more happening than meets the eye. Francis plays that heartbreaking conflict with a lovely sense of honesty – particularly through her friendship with the Devil, a conflicted character in his own way that Hallahan builds wonderfully.

Silverman’s script is full of dark humor that helps keep the audience hooked, and allows for an easier time swallowing the heavier critique that connects to our own modern world through the contemporary language. Watching these characters use popular slang and references allows for a relatability that is helpful, but also at times unsettling, and adds to the deeply clever nature of the piece.

Seamless Movement and Creative Use of Space

Helmed by Lyons, the artistic team takes advantage of the intimate space of the Gillian Theatre, drawing the audience into Silverman’s world. Because the audience is so close to the action, little goes unnoticed, and each detail feels as if it was taken into account for that reason – down to the seamless transitions.

Scenic Designer Yu Shibahaki’s design is minimal, but effective, complete with a wall built around the back of the space that plays into the supernatural feel of the piece with material that resembles leaves and woodsy elements. The wall allows for multiple entrances and exits, and set pieces are brought on as needed. Lighting Designer Paul Toben and Sound Designer Mikhail Fiskel collaborate to heighten the tension in these transition moments – with a drum beat that feels like the heartbeat of the piece. Lyons clearly rehearsed these moments, because each movement of furniture or actors is perfectly timed with the beat – almost choreographed, allowing for what feels to this writer to be a seamless production from start to finish.

Silverman’s play about the choices we make and the consequences that follow is certainly timely. But on top of that, with Halloween right around the corner, who doesn’t love another witch story? In this reviewer's estimation, this is a cleverly crafted piece and thought-provoking script make Witch a must-see

Writers Theatre presents WITCH Review: A Contemporary Take on a Relevant Classic

Writers Theatre presents World Premiere of Witch

Thought-Provoking and Powerful Script

Seamless Movement and Creative Use of Space

HIGHLY RECOMMENDED

Cast:

Crew:

When

Where

Tickets

About the Author:

Make a Comment

Leave a Reply Cancel reply