WITCH – Written by Jen Silverman; Directed by Josh Hartwell. Produced by BETC (presented at the Savoy Event Center, 1700 Arapahoe, Denver) through August 2 and (presented at the Dairy Center, 2590 Walnut Street, Boulder) from August 6 through August 23rd. Tickets possibly available through the Savoy Event Center or the Dairy Center for the Arts.
When the state of the world brings tears to the eyes of the devil, it’s time to make some changes. This comedic piece by Jen Silverman has a deep and heartfelt message to all who see it. A piece that reaches out from the past to expose the uselessness of ego gratification, the poison of jealousy, the pointless pursuit of power, the heartless love of riches, the dangers of duplicity . . . and brings it home to provide a modern message.
The devil (who makes no secret of who he is and why he’s here) arrives at the village casually making deals with two of the villagers with almost too much ease. One wants the riches and legacy that comes with an inheritance; the other wants the first to lose in this battle of wills. The devil Scratch seals all his deals with a left-handed shake and a “I think we can make that happen.” Ironically, as soon as one of his victims is awarded his wish, the second deal gets met as well, all on their own because of botched paperwork. This devil is not very efficient.
But, of course, the third person he approaches, wise beyond her years, sees the flaw in his reasoning and avoids the trap. This particular demon is devilishly handsome, so while she enjoys his company and recognizes the spark between them, is immune to his charms . . . nearly. Scratch, the devil, is not used to being told “no” or thwarted in his duties of entrapment. He finds a particular charm in being “off the clock” with her and soon is willing to risk his own deal for a new idea.
This script has comical situations based on easily recognized human foibles that lead to laughs galore and insightful glimpses of the state of their world. The basis for the story is a 1621 play called “The Witch of Edmonton” that uses many of the same characters and situations. Being told, however, in modern language brings it forward from the village to the city.
The cast is extraordinary. Torsten Hillhouse returns to BETC from his touching work in BROOKLYN LAUNDRY earlier in the year. Playing Sir Arthur Banks, the big man in the village, the owner of the castle, and a man truly in love with his long-deceased wife, he is however, oblivious to the damage he is doing to his family by his need for a manly heir.
Bryan J. Black is Cuddy, Sir Arthur’s less than masculine son, whose life’s desire is to be a really good Morris dancer (a dance form reserved for men at that time). His bumbling helplessness is both sweet and dangerous at that time in history. Cameron Davis is the self-confident but deceptive usurper, Frank, who hopes to fulfill Sir Arthur’s desire for an appropriate heir. His personal charm is reserved only for his secret wife and Sir Arthur. He has fallen into a honeypot and plans to make the most of it, no matter who gets hurt.
The titular witch, Elizabeth, who shows no pre-disposition toward magic potions, is the always brilliant Jessica Robblee. Jess is one of those actresses who refuses to be categorized; her talent allows her to play any kind of character. She makes an insightful, charming, level-headed, but susceptible village woman, long scorned and feared for unknown reasons. Her playful scenes with the devil leave us wondering who is going to win in this growing flirtation. The female intellect is upheld further in the story with the addition of Elizabeth Harlen as Winifred, the unwilling maid at the castle and the secret bride who is forced to watch her personal dreams begin to dissolve.
Special attention needs to be paid to this particular devil, Marco Robinson, who exudes charm out of every pore, giving each character he meets exactly what they are looking for. He is bold, upfront with his reason for being in the village, willing to “discuss” the possibilities with all he meets and cleverly maneuvers people into his way of thinking. Until Elizabeth. He is confounded by her brick wall, her ability to tempt him into thinking he may succeed after all, and then shattering all his hopes with a single “no.” What a tangled web we weave!! Marco the magnificent succeeds once again to win both the women on the stage and the women in the audience. Where do we sign up for this so-called deal??
Tina Anderson continues to astound with her ability to create environments for actors that enhance and complete the story telling. This set encompasses with equality both a dining hall in a Jacobean castle and a humble hut in the village. Beautifully dressed by Katie Hopwood McCleaf, the picture is complete. The lighting design by Erin Thibodaux keeps our eyes in the right place as the action moves back and forth between the two locations and also subtly addresses the differences within the two household’s character. The unobtrusive sound design by Adara Baltazar adds drama to a crucial scene, provides background noise for a scene in the pub, and moves us easily between the action. Special recognition must go to the stunningly authentic costumes created by Sarah Zinn. Each actor is dressed with a sharpness and care that recognizes their place in the world and their character. Ben Reigel also brings his specialized skills to a crucial event, terrifying to watch, that creates a conclusion to the rivalry between Cuddy and Frank.
While I’m wishing that each of you readers would have the opportunity to see this fine example of the product put forth by BETC, I’m sad to report that the ENTIRE production is at this point SOLD OUT. Before it even opens!! You can now only hope for added performances or putting your names on the waiting list for every show.
A WOW factor of 9.5!!