Theatrical productions delving into witchcraft have been a popular and controversial subject for centuries. The allure of the mystical and the supernatural has fascinated audiences and artists alike, leading to the creation of countless plays and performances exploring this theme. One of the most infamous examples of a theatrical production delving into witchcraft is Arthur Miller's play "The Crucible." Set during the Salem witch trials of the 17th century, the play explores how fear and paranoia can lead to mass hysteria and the persecution of innocent individuals. The play serves as both a cautionary tale about the dangers of intolerance and a commentary on the political climate of the time in which it was written (the McCarthy era). Another notable example is Shakespeare's "Macbeth.
As the Summer of Love glistened on the horizon, these alternative groups created a groundswell and catapulted leaders into the mainstream. Famous Wicca practitioner Alex Sanders stared out from Rolling Stone magazine and in 1966, TIME famously asked: “Is God Dead?” Ira Levin would attempt to answer that question in Rosemary’s Baby (later, in Roman Polanski’s true-to-the-book adaptation, Rosemary would thumb the issue while sat in the Dr’s waiting room). The book swirls with occult iconography and draws heavily from the Church of Satan which was founded that year. Like the Church of Satan, the Marcato coven marked 1966 as Year One in the Age of Satan and the storyline opens with Roman and Minnie Castevet convincing new neighbour Guy Woodhouse to sell his wife like chattel to be raped and impregnated by the devil so she can bear his offspring.
While male characters are allowed to rise from the grave and wear their disfigurement openly, Asa is only properly shown once she s assumed the palatable appearance of Katia. Witches have long captivated the imagination, from the Salem witch trials of the 1600s to 20th century Wiccan rituals, right up to 2016 s The Love Witch , Anna Biller s retro riff on 1960s witchploitation films.
Another notable example is Shakespeare's "Macbeth." While not explicitly focused on witchcraft, the play incorporates the supernatural through its portrayal of the three witches who manipulate the fate of the main characters. The witches are often seen as representative of the dark forces at work in the world, influencing and corrupting those who succumb to their temptations.
Vegas Theatre Company’s ‘Witch’ delves into a devil’s bargain
Nick Huff, left, and Katrina Currow, right, perform during a dress rehearsal of “Witch,” a 2019 play by Jen Silverman at Vegas Theatre Company, Tuesday, Oct. 12, 2021.
Thursday, Oct. 14, 2021 | 6:45 p.m.
'Witch' at Vegas Theatre Company
A sleepy Jacobean town called Edmonton will dominate the Vegas Theatre Company stage starting Friday — and the Devil himself will walk its streets.
In “Witch,” the first show to take centerstage at the theater since the start of the pandemic, the Devil, named Scratch, sneaks around granting wishes in exchange for souls. The only one to refuse his offer is the town’s outcast, Elizabeth Sawyer, dubbed the local witch for her solitude and independence.
“Witch” is a 2019 play by Jen Silverman and will premiere this weekend at the company’s venue in Arts Square. Silverman adapts the 1621 play “The Witch of Edmonton,” written by William Rowley, Thomas Dekker and John Ford, by infusing modern-day vernacular — the characters use “like” freely — into the dated period.
The production runs Fridays, Saturdays and Sundays through Nov. 7. Tickets range from $25–33. Proof of vaccination against COVID-19 or a negative COVID-19 test 72 hours prior to the show’s commencement is required.
“We understand that this issue has become an incredibly polarized, and political, position for some Americans,” the company said in an email to viewers before Wednesday’s preview show. “VTC did not come to this decision from that position — we are only concerned with you, our patrons’, health.”
At the preview, friends and frequent theater-goers Ray Smith and Dan O’Neill said they appreciated the reprised availability of live shows. They expressed dissatisfaction with virtual performances — something many theaters elected to do while stage lights were low — because they did not provide the exact level of connection that in-person performances do.
“You could obviously tell someone put a lot of effort into the production,” O’Neill said. “To me, there’s an immediacy about theater that you don’t have in movies.”
The 80-seat theater’s confined space situates actors like Katrina Currow, who plays Elizabeth, close to audience members. She brandishes a long knife, chin held high as the Devil played by Nick Huff, pitches and lays plain the delights he offers. Elizabeth’s denial is playful and physical, aspects that Currow said she latched onto when preparing for the role.
“There’s a point where I put on the costume, and I just kind of get my body physically where I feel like it needs to be,” she said. “It’s more of just getting into the physical, I think, for this one.”
“Witch” is the first in-person show for Currow, she said, since the pandemic began. Before this, the Vegas Theatre Company, formerly known as Cockroach Theatre Company, worked virtually during COVID-19 related shutdowns. But a return to the stage is a relief, artistic director Daz Weller said, as well as a resurgence of what theater is meant to be.
“Theater is actually about connection, and it’s about coming together,” he said. “Without that coming together, it really doesn’t exist.”
Director Andrew Paul said the turnaround for receiving the script and audition process was approximately two weeks. A month of rehearsals later, Paul said he thinks the actors need an audience to elevate the play.
“It’s a true ensemble play for six actors, and it’s a tour de force for the six actors,” he said. “It’s just a really interesting play.”
As artistic director, Weller selected the play for production at the company. Though the play was written before the pandemic, Weller said he thinks audiences will be able to eye overlapping themes.
“I think it really kind of speaks to the sense of the way that we’ve all been going through this struggle between hope and despair,” he said. “It also kind of raises the question of, ‘What do we want to go back to? Do the structures that we’ve put in place actually support us moving forward?’”
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Modern interpretations of witchcraft in theatrical productions have also emerged in recent years. With the increasing popularity of shows such as "The Chilling Adventures of Sabrina" and "American Horror Story: Coven," witchcraft has become a mainstream topic that audiences are actively seeking out. These productions often aim to humanize witches and explore their struggles and conflicts, challenging traditional stereotypes and prejudices. The fascination with witchcraft in theatrical productions stems from our enduring fascination with the unknown and the desire to explore the limits of human nature. Whether used as a metaphor for societal anxieties or as a lens through which to examine our own fears and desires, these productions continue to captivate audiences and provoke thought. In conclusion, theatrical productions delving into witchcraft offer a rich tapestry of stories and themes that captivate and challenge audiences. From classic plays like "The Crucible" and "Macbeth" to modern interpretations in popular culture, these productions explore the complexities of human nature and the enduring allure of the supernatural..
Reviews for "Theatrical Productions Conjuring the Spirits of Witchcraft"
1. John Smith - 1/5 stars - I found the theatrical production on witchcraft to be highly disappointing. The entire performance seemed more focused on shock value rather than delivering a compelling narrative. The use of dark and eerie music, coupled with the constant emphasis on demonic possession, only served to perpetuate negative stereotypes and misconceptions about witchcraft. I believe the production missed an opportunity to explore the rich history and diverse practices associated with witchcraft, instead resorting to cheap theatrics.
2. Emily Johnson - 2/5 stars - I was excited to attend the theatrical production on witchcraft, hoping to experience a thought-provoking and insightful portrayal. However, I left feeling underwhelmed and somewhat disturbed. The exaggerated portrayal of witches as evil beings and the excessive use of satanic imagery detracted from any potential educational value. It felt more like a sensationalized Hollywood horror film rather than a well-researched and respectful depiction. I believe there are other, more nuanced ways to explore the topic of witchcraft in a theater setting.
3. Sarah Thompson - 1/5 stars - The theatrical production about witchcraft was a complete letdown. I understand that there can be a dark and mysterious aspect to the topic, but this production took it to an extreme. It seemed more focused on depicting witches as malevolent creatures rather than offering any kind of historical or cultural context. The overall tone was sensationalized and lacked depth. As someone interested in witchcraft as a spiritual practice, I expected a more nuanced portrayal that went beyond stereotypes and clichés.
4. Daniel Brown - 2/5 stars - While the theatrical production on witchcraft had some visually impressive moments, it ultimately failed to delve into the true essence of the subject. The constant focus on black magic, spells, and curses reinforced the stereotypical image of witches as evil beings. I was hoping to see a more balanced perspective that explored the different beliefs and practices associated with witchcraft throughout history. The production would have been more engaging had it offered a more comprehensive and thoughtful approach to the topic, rather than relying on sensationalized elements.