By Doug Iden
What do you want most in your life?
This is the question confronting six characters in the play Witch at the Carnegie. Based upon a 16th Century Jacobean legend, playwright Jen Silverman’s modern dark comedy masterfully addresses conflicting wants, desires, and delusions. The production is a collaboration between the Carnegie and the University of Cincinnati College Conservatory of Music (CCM) with all participants either students or staff.
The evening is a combination of traditional stage performances plus a series of soliloquies performed by the characters which are directly addressed to the audience.
PLOT, CHARACTERS AND STRUCTURE
The play starts with Elizabeth Sawyer (Debra Najor), the outcast “witch” of the region, challenging the notions of hope, desires, and needs. During the one-act play, each character thereafter has their own soliloquy.
A beguiling Scratch (Nico Graves), or the Devil, comes to a 16th Century town in England searching for souls to buy in exchange for their innermost desires. The first contact is Cuddy Banks (Carson Mehibauer), the effete son of the Lord of the Castle Sir Arthur Banks (Samuel Stricklen). Cuddy’s major desire is to be a renowned Morris Dancer but also remain as the heir to the castle versus his rival Frank Thorney (Nikolas Gray). Cuddy sells his soul for the death of Frank. Shortly thereafter, Frank makes his own deal with the devil to become the heir apparent to the castle.
With two down and one to go, Scratch is bedeviled when Elizabeth declines the offer. The distraught Scratch says “no one says no” but is again rebuffed by ‘the witch”. Since, as a “junior” devil, Scratch has never been denied before but becomes increasingly intrigued by Elizabeth and they develop a wary alliance.
Sir Arthur Banks is increasingly drawn to the gregarious non-royal, adopted “son” Frank while demeaning his own foppish son Cuddy. The rivalry between Frank and Cuddy increases. The final character Winnifred (Staylie Grace) is a servant who becomes the center of significant conflicts later. Sir Arthur communes with his dead wife with, initially, some comedic references to their relationship but then agonizes that he does not have her counsel about raising his son and the imminent decision about the ultimate heir.
THEMES AND TONE
The play is a dark comedy and is, at times, quite humorous but there are some more serious themes. Elizabeth, the outcast, bookends the play with the question of “is there any hope.” The character has suffered mightily because she was once the mistress of Sir Arthur’s father but was exiled and condemned as a witch. She has every reason to want revenge and accept Scratch’s offer for power but she refuses because she has learned to live her own life.
“Watch what you wish for” is another theme when both Cuddy and Frank’s contradictory wishes come true. The traditional roles of women and betrayal are also major themes. The Morris dancing Is probably symbolic but I did not understand it. Morris dancing grew from ancient Celtic traditions and typically represents rural harvest times or nature’s rebirth.
PLENTY OF HUMOR IN WITCH
The humor is situational with no jokes–but replete with irony. Some of the humor comes from the relationship between the characters and jabs at gender bias and “housekeeping” roles for women. One fascinating take is Scratch’s constant allusions to modern business practices. They long for promotion but is not a very effective salesperson, hates the “paperwork” and spends too much time with Elizabeth. The “betrayals” evoked both laughter and horror from many women in the audience. Sexual identity also has it moments.
TECHNICAL
As you would expect, the technical aspects of a joint Carnegie/CCM production are impeccable. The acting is uniformly excellent led by Graves’s Scratch who provides much of the humor by talking too fast because the character does not have much confidence in salesmanship. Najor’s Elizabeth is the anchor and plays the role with dignity, humor and sagacity. Mehlbauer’s Cuddy is effectively effete as the wastrel son but demonstrates the clogging nature of the Morris dance well. Stricklen plays Sir Arthur with appropriate aristocratic bonhomie but has his poignant moment during his “conversation” with his deceased wife. Gray’s Frank is sufficiently unctuous as the wannabe aristocrat and Grace’s Winnifred lurches from dutiful servant to betrayed woman.
Director Lindsey Augusta Mercer moves the play along well and maximizes the acting talent. The Jacobean costumes designed by Maria Lopez fit the characters will, especially the foppish outfit for Cuddy. Scratch is dutifully dressed in black. The combination of lighting (Ashton Karp), Sound (Kaitlin Proctor) and set design (Doug Stock) very effectively sets the mood. The set features four arches with lighting that can range from the entire arch to portions of it. There are several stairways used for dramatic effect and furniture designed for two primary scenes. The entire stage is never used but, rather, we see mini-scenarios shown in the castle table, Elizabeth’s living room or the stairs. There is also a significant fight scene (coordinated by Fight Director Gina Cerimele-Mechley) between Cuddy and Frank.
OVERALL
This is a play that grows on you. As I left the theater, I was wondering what the play was all about but realization began to dawn. Throughout, the show is impressive technically and, on that basis alone, would recommend it. But when the coin finally fell into the slot, I realize that this show has some real power and has something to say, buoyed by the ironic humor.
TICKETS TO WITCH
So, grab your broomstick, bring your “I want list” and whisk away to the Carnegie. Get tickets to Witch at this link.
The Carnegie’s next production is another combined show with CCM featuring the delightful fantasy Suessical running from January 31 through February 16, 2025,
