Dobama Theatre’s ‘Witch’ is a heady brew of unvarnished fantasy

Decisions...Decisions...Decisions...Our worlds are made up of Decisions. When and what should I have for lunch? Who should I marry? Where should I go to school? Where should I be employed? What tie goes with this suit? Should I sell my soul to the Devil?

In Jen Silverman’s “Witch” It is 15^th century England in the tiny hamlet of Edmonton (near London). The country has survived the Great Famine and the Black Death although the economy is in chaos. A new class of gentry has formed with the new found nobility exercising their power through a modern form of feudalism. New technologies and social sciences are beginning to emerge and England is on the cusp of greatness. It is a time of Mary Queen of Scots, Christopher Marlowe, William Shakespeare and King Henry (number 8). Times are tough as a series of wars has nearly bankrupted the country but things are beginning to look up.

Elizabeth Sawyer (Lisa Louise Langford) laments to the audience about being accused of being a witch. If a cow goes dry, she is to blame. If the children break out in warts, she is to blame. If the crops fail, she is to blame. It is a life of people constantly talking behind her back and falsely accusing her.

Enter Scratch (Michael Glavan) who is a devil. His job is to visit various small communities around the world and convince people to sell their souls for whatever is their strongest desire...wealth, revenge, property, sex appeal, long life. All of these temptations are put on the table as inducements.

Scratch’s first customer is Cuddy Banks (Mike Frye) who is the only son of Sir Author Banks (Brian Pedaci) who is the local “Lord over all he surveys”. Cuddy is a closeted gay during an unenlightened time. His request is for the death of his rival, Frank Thorney (Daniel Telford), a poor farmer that Sir Arthur took a liking to and appears to be grooming to be the heir apparent. Frank is secretly married to Winnifred (Bridgett Martinez) who has managed to get work at the castle as a maid, housekeeper and cook. Cuddy is smitten by Winnifred. Once the required handshake is procured from Cuddy, Scratch sets his eyes on Frank whose desire is wealth, property and prestige and another handshake is enacted.

Soon, Scratch is at the door of Elizabeth trying to add her to his list. Surprisingly, she puts him off...not once but twice. The second time they spend an evening drinking and visiting eventually spending the night together.

Back at the castle, Sir Author, Cuddy and Frank sup together with Winnifred serving their every need. Meeting Frank after the meal, Winnifred raises hell with Frank for ignoring her and his desire to marry “someone with title”. She then tells him that she is pregnant. Later, a fight breaks out between Frank and Cuddy that at first is for fun but soon becomes quite serious. Blows are exchanged and the intensity increases with Cuddy killing Frank even though he is physically unmatched against the taller man.

With her husband dead, Winnifred seeks out Scratch in order to sell her soul for a simple life of hard work, parenthood, a quiet death and to be buried near Frank (where the bees can share the flowers from both their graves). Her other idea is to burn all of the earth and everyone on it. It is then that Scratch realizes a huge mistake. While he has procured a handshake from Cuddy and Frank he has not had them sign the formal contract in blood thus the deal is null and void. One reoccurring theme from each seller of their most valued spiritual possession is “My soul? What has my soul ever done for me?”

This is a tightly written show that packs quite a wallop in its110 minutes (sans intermission). The play delves into such subject matter as the “place” of women in the world, what is defined as our deepest desires and how easy it is for the Devil to tempt well meaning folk to sell their most valuable possession.

The stage set by Laura Carlson Tarantowski in collaboration with Quentin Ball has built two magnificent worlds that are changed in the blink of an eye. From Elizabeth’s humble cottage to Sir Arthur’s grand dining room (with matching tables) the use of props and revolving walls are well noticed. There are also delightful huge beams that frame everything quite well. Inda Blatch-Geib’s costumes are absolutely splendid and period correct. Dreb Geib’s props add to the belivability. Josee Coyle’s lighting design superbly accents the set and draws us into the action. His use of blackouts, subdued lighting and fades are stupendous. Angie Hayes sound design adds background music that further enhances the action. Kudos also to Kelly Elliott fight direction (although better positioning of a still alive and (heavily) breathing Frank would have been appreciated).

As for the actors, Lisa Louise Langford as Elizabeth Sawyer is superb as a woman who knows her own value and will not negotiate. Michael Glavan as the handsome Scratch oozes charm and likability, even to the end when he teeters towards human emotions. Mike Frye as Cuddy Banks is fantastic as a man not quite sure of himself or his desires but stumbles forward in spite of the consequences. Daniel Telford as Frank Thorney portrays the rags to riches character with a deep sense of purpose. Brian Pedaci as Sir Arthur keeps his cards close to his chest as it is difficult to guess what his true intentions are. Is Frank simply being used to awaken Cuddy to his family duties and requirements? What plans does he really have for Frank? Bridgett Martinez as Winnifred as the secret wife of Frank brings to light the unfair conditions that women suffered (and continue to suffer). Director Carrie Williams gives artistic reign to her charges allowing them to develop subtle but meaningful looks and physical nuances that help propel the story.

At a time in our country when rights are being trampled and souls being purchased on the cheap we need a reminder of what is real, what is valued and what is true. Not a word is wasted nor a gesture thrown away in this gem of a show. These are the words of sages for the ages that will bewitch you.

The Dobama Theatre production of “Witch” will be on stage at 2340 Lee Road in Cleveland Heights, Ohio through November 2, 2025. For more information and to purchase tickets go to https://www.dobama.org/ or call (216) 932-3396.