Review: WITCH at DOBAMA

“The universal themes of transformation, belonging, and resistance found in [Jen] Silverman's work resonates with diverse audiences.  Her use of magical realism and inventive storytelling techniques invites viewers to reconsider familiar narratives, fostering empathy and reflection.” 

This is so true of WITCH, Silverman’s reimaging of the 1621 Jacobean drama THE WITCH OF EDMONTON, which is now on stage at Dobama. 

At the conclusion of the production, the “devil” stands downstage/center, a spotlight accentuating the tears running down his handsome face, as he asks the audience, “Do you have hope?” 

A man sitting behind me loudly said, “Hell no!”  He continued, “How can anyone have hope when our freedoms are being taken away, the miliary is taking over our cities, and the constitution is being run-over.  All this for the ego of a President out of control.”  A couple of people sitting in his area applauded.

What does all of this have to do with the play WITCH? 

WITCH is a 2018 script that “follows a devil named Scratch who arrives in the village of Edmonton to buy souls, but finds himself unexpectedly intrigued by Elizabeth, an outcast woman accused of witchcraft. As the devil attempts to tempt her, he also encounters two young men, Frank [a poor charismatic farmer who has been befriended by Sir Arthur Banks, the wealthy owner of a castle] and Cuddy [Sir Arthur’s closeted gay son], who are willing to sell their souls for ambition and a desired inheritance. 

A series of events concerning who will be Sir Arthur’s heir, how the love/hate conflict between Frank and Cuddy turns out, who will gain the affection of Winnifred, the castle’s maid, and what will eventually happen to the witch and the devil, keep the action buzzing along.

Written in modern language, but set in an era gone-by, the play explores themes of social ostracism, power, and desire, but, most importantly, it asks, “at what point do you lose all hope?”

This is neither an easy script to perform or meet the demands of gaining and holding the audience’s attention.  The production, under the discerning eyes and ears of talented director Carrie Williams, handled the challenging content with competence and seeming ease. 

The cast, Lisa Louise Langford (Elizabeth Sawyer—the witch), Michael Glavan (Scratch—the devil), Mike Frye (Cuddy Banks--the son), Daniel Telford (Frank Thorney--the heir-apparent), Brian Pedaci (Sir Arthur Banks) and Bridgett Martinez (Winnifred—the Maid), each dressed in spectacular period costumes, designed by Inda Blatch-Gelb, were superb.  Each character was clearly etched and consistent.  Bravo.

Dobama’s stage, with no audience member more than 5 rows from the action makes it difficult to fake anything.  This made the brawl between Cuddy and Frank so outstanding.  It was impressively choreographed by fight director, Kelly Elliott.  Only the fact that after one of the characters is “killed” does any flaw appear.  Lying on his back, face up, it was apparent that he was still breathing.  Because of the severe realism of the battle, this flaw stood out.  Placing him on his stomach, or facing away from the audience, might have eliminated this problem.

Laura Carlson Tarantowski’s set design, complete with a revolving platform, was era correct and added positively to the over-all effect, as did Josee Coyle’s lighting and Dred Geib’s props.

CAPSULE JUDGMENT:  From its inception Dobama has continued to stage challenging scripts with skill and effectiveness.  WITCH continues that tradition. This is a challenging script that in less talented hands could have been a very long and frustrating experience.  As is, it well developed the author’s intent and purpose.  Some will probably still find it obtuse, while others, like myself, will find it a very satisfying experience.

Due to the demand for tickets, the run of WITCH has been extended through November 2.  For tickets go to dobama.org or call (216) 932-3396.

Side-note:  In the lobby there is a visual tribute to the recently deceased Mary Jane Nottage, one of the earliest members of the Dobama acting family, and a generous donor to the theatre’s coffers.  She was a unique, funny, creative spirit who will long be missed by members of the Cleveland acting family.  She was a special person and a dear friend.  I miss her!

Next up:  THE HOBBIT, from the smallest beginnings come the greatest legends from December 4, 2025-January 4, 2026.