The new play
Witch, by
Playwrights' Center affiliated writer Jen Silverman (author of
The Roommate and
The Moors), is an absurd and funny little play that's difficult to describe. It's a loose retelling of the 17th Century play
The Witch of Edmonton, which is based on the real-life case of Elizabeth Sawyer, one of tens of thousands of women accused of and executed for being a witch in the middle ages and early modern era across Europe and the US. But the play also focuses on a wealthy landowner and his heirs, and the idea of selling one's soul to the devil, and things take many unexpected turns. The themes of women's agency, and selling your soul to gain power, make this four hundred year old story scarily relevant. Walking Shadow Theatre Company's production is well-executed in the intimate space of Open Eye Theatre, with a talented six-person cast.
Witch continues through April 13 (note: "intimate" means small audience, so don't wait too long - some performances are already sold out).
The play is constructed of two mostly separate stories, connected only by the devil, or the devil's junior salesman, come to collect souls. He figures Elizabeth will be an easy mark, since everyone in the village already thinks she's working with the devil, but he's wrong. He finds in Elizabeth someone who challenges him, questions him, makes him think about things he's never thought about before, and he's intrigued. Elizabeth wants to know more about this selling your soul business, and what kinds of deals men get that may be better than what she's offered. Meanwhile, Cuddy, the son of a wealthy landowner, is having daddy issues - his father doesn't respect him and his passion for
Morris dancing, and (rightfully) doubts his ability to marry well and produce an heir. Sir Arthur would rather have someone like the strong, confident, well-liked Frank as an heir. Cuddy sells his soul to the devil in exchange for Frank's death, Frank sells his soul to the devil in exchange for becoming heir, and both get their wish, in unexpected "careful what you wish for" ways. All of this leads the devil's junior salesman to have a bit of an existential crisis, with an ending that leaves us wondering.
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Elizabeth (Wini Froelich) making a deal with the devil
(Nick Erickson, photo courtesy of Walking Shadow) |
The play is written in modern language, creating a fun juxtaposition with the setting in 17th Century England. Co-directors Cody R. Braudt and Amy Rummenie do well with the smart and funny script, balancing the two storylines and character asides. The six-person cast (half of whom are recent or soon-to-be graduates of the U of M/Guthrie BFA program) really nail the funny and anachronistic, yet grounded tone. Wini Froelich is so great and real as Elizabeth, a truly lived-in performance as this woman who is tired of how she's being treated, and finally has a chance to get what she wants, if she figures out what that is. Nick Erickson is the epitome of the smooth-talking charmer, telling the other characters what they want to hear and winning everyone over (including the audience). Over in the castle, we have Peter Colburn as the stern, pragmatic, but not uncaring father, Caiti Fallon as the servant with a connection to both "sons" who decides to take matters into her own hands, and Jake Sung-Guk Sullivan and Samuel Osborne-Huerta as frenemies Frank and Cuddy, both so funny and with a cute love-hate chemistry between them (and a great fight scene choreographed by Annie Enneking).
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in the castle: Sir Arthur (Peter Colburn) with his two "sons"
(Samuel Osborne-Huerta and Jake Sung-Guk Sullivan) and
the maid (Caiti Fallon, photo courtesy of Walking Shadow) |
The play takes place in two distinct settings, which might be hard to do on Open Eye's tiny stage under the arch, but they've accomplished it well. Elizabeth's humble cabin is on the far left side of the stage, with shelves and props that make it look realistic. A rich red velvet curtain drawn across the arch provides a backdrop for some scenes outside the castle, and when opened the impressive dining room table (complete with food) is revealed, with a portrait of Cuddy's mother hung in the background on what looks like a stone castle wall. Characters are dressed in period costumes appropriate to their station, except for the devil who is dressed more modernly in leather pants and two-toned shoes (scenic design by Alice Endo, costume design by A. Emily Heaney).
Shockingly, this is Walking Shadow's first show in a traditional theater space since the pandemic, after a couple of excellent site-specific shows (
Feast at Black Forest Inn accompanied by an actual feast, and
Red Speedo staged next to an actual pool). Now they're back at Open Eye, the site of their final pre-pan show
The Ugly One.
Witch is another well-chosen new or rarely done play that's both relevant and historical, well done by the cast and creative team.
