Witch opens with what appears to be a coven of women in black shiny robes circling the stage holding candles. One periodically reads from a book so iridescent that its pages glow in the dark. Then shift to a present day, and not just any day, but the happenings of the post-election 2017 Women’s March in Washington, D.C.
The “witches” cast off their cloaks. They’re suddenly in modern attire and yakking it up in today’s vernacular. We’re in a small performing space at the march, that’s reinforced when the young performers enter wearing those woven pink hats! The scene captures the excitement and energy of that amazing gathering aided with massive crowd sound effects by Andrew Nason. The characters reveal they’re part of a W.I.T.C.H. protest/performance group and decide who’s up next to share some of the most fascinating tidbits about women in history.
It’s especially delightful seeing the involvement of the next generation, active and fully engaged. not just sitting along the edges waiting for Mom to return home. They march with signs, get yelled at by hecklers, feel the hunger and fatigue that goes part and parcel with taking a stand, and yet they persist. It was an incredible message that coursed through the entire production right up to the final electric image.
The musical, a collaboration between Matt Conner and Stephen Gregory Smith, who also direct it, is filled with the power of words and language. The protest signs introduced new spins and alternate concepts for the Witch word, like pressing the refresh button so it could stand for – “Women in Trouble Choose Help,” opening up possibilities to make up one’s own, like “We Invite Total Care Healing.” Just revisioning the word is a breath of fresh air. The stories remind us that the term once gave permission to shun, jail, stone, hang, and yes, burn the accused. By taking back the word (which rhymes with another derogatory term) an acronym for something else, it dissipates the power, reducing the stigma of horror, shame and evil cast on women.
Watching this talented ensemble create scenes and moments from history and right now was thrilling. Each scene was fresh and innovative, and the jaunty songs and lyrics range from exuberant to hysterical to downright chilling and resonate to the soul.
Catherine Purcell with the voice of an angel relates the startling tale of Moll Dyer, a Maryland woman who survived a hanging. Who knew?
“Hollywoodland” was a crowd pleaser set-up nicely by the talented Susan Derry. The song provided background and reflective messages about Margaret Hamilton, the multi-talented actress in the Wizard of Oz who was forever associated with being the W.W of the.W. stuck on her broom. The artistic directors worked with that metaphor with an ingenious reference to women using brooms to do what they do best, clean and sweep up the house—actually the U.S. House of Representatives and the Senate, as well. The incomparable Iyona Blake as Destiny cleaned up that one. Blake also delivered some serious goods with touching awareness as Gambaga, with “The Tale of Ma Hawa” an unsettling reminder that women are still being accused of being witches, nearly a thousand of them last year. Blake is stunning. The deep timbre and resonance of her voice fills the room and matches her captivating, strong delivery as if she’s channeling all the current and past souls who have been targeted.
Grabbing a chance to catch Florence Lacey is a no-brainer, a treasured Broadway performer right here in arms reach. Her impressive vocal range, gravitas, and appeal assured truth, meaning and integrity as Mom Becky in every scene. When the three young performers sit at her feet listening to her wisdom as she finally accepts the mantle of being a “Crone,” you could hear a pin drop. [ezcol_1third]
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Witch
closes May 6, 2018
Details and tickets
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But also cast your eyes on the three younger performers; Samaria Dellorso, Sophia Manicone, and Arianna Vargas kept the audience in rapt attention with their energy, vocal clarity and spirited deliveries. Their rendition of “Pretty” is perfectly timed with the release of”I Feel Pretty,” Amy Schumer’s movie reflecting the unrelenting need for women to feel attractive and accepted to confirm their worth.
Spiraling throughout the historical renditions are concurrent messages of personal truths and uncomfortable backstage realities. Something’s bound to bring on the drama with three generations of bad-ass women on a mission. Perspectives clash, opinions evolve, and through it all, the women learn to appreciate and support each other.
Derry as Maggie is in the middle of it all, smack dab in fact, with Mom on one end resisting the moniker of aging and her daughter on the other, burgeoning with questions and insights of her own. Maggie is the ultra high achiever who gets things done, the go-to fix it combo daughter/Mom/friend/colleague. She’s weathered all the turmoil so far, but when she’s faced with an unexpected situation, that just might be enough to bust her “I got this” veneer. She’s usually stoic and takes everything in stride, keeping just one step ahead of chaos, but by the end of the show she’s at a crossroad and has no idea what direction to take. That’s when she finally confides to her Mom who listens with care, no suggestion or advising, she’s just there. It’s a powerful moment that both women handle beautifully.
The characters are skillfully directed by their creators, Conner and Smith. You may have seen their works around town while each continues to explore solo ventures on stage and behind the scenes with multitalented results. That this is their fourth premiere in the Bold New Works is a feat unto itself.
The simple raised square platform set design by Margie Jervis works nicely with steel girded columns upstage. Lighting design by Lynn Joslin casts a green pall on a row of “witches’ in the beginning scene and provided the shadowy depths in the somber scenes.
If you haven’t taken the time to find your way to Creative Cauldron, now in its ninth season, this is the perfect opportunity to enjoy a new, truly engaging, topical “woke” to the max musical.
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Witch . Music and Lyrics by Matt Connor . Book and Lyrics by Stephen Gregory Smith . Featuring: Florence Lacey, Iyona Blake, Susan Derry, Catherine Purcell, Samaria Dellorso, Sophia Manicone, and Arianna Vargas . Music Supervisor/Orchestrations—Warren Freeman . Scenic, Prop, and Puppet Design—Margie Jervis . Sound Design—Andrew Nason . Costume Design: Alison Johnson . Lighting Design—Lynn Joslin . Stage Manager/Board Op—Regina Vitale . Produced by Creative Cauldron . Reviewed by Debbie Minter Jackson.
