OFF-BROADWAY REVIEW

BEWITCHED, BOTHERED AND BEWILDRED (But Not Necessarily In That Order)

Bewildered

If you’re wondering what kind of person would carry around his bloodied murder weapon in his coat pocket or where the writers of Owen Wilson’s recent movie, Marmaduke, probably got their idea for a talking dog or how a stage play which was written separately by three (or probably more) playwrights looks like, wonder no more. Run or better yet, grab your broomstick and head to the Theatre at St. Clement’s on 46^th Street for some equally bewildering answers to these bewildering questions. 

On second thought, the answers to these questions may or may not be found in The Witch of Edmonton which is being staged at the Theatre at St. Clement’s by the Red Bull Theater. This theater company is “dedicated to the presentation of vital and imaginative productions of heightened language plays and to the development of similar plays, focusing on Jacobean dramas”. If you’re wondering why a seven year-old theater company with such lofty objectives would name itself after an Austrian energy drink, you don’t have to run to the Theatre at St. Clement’s for the answer. Red Bull Theater got its name from the leading theater in London during the Jacobean era, not from the energy drink. 

And if you’re also wondering who wrote The Witch of Edmonton, a trip to the Theatre at St. Clement’s will not also provide you with the answer. This is one aspect of the play which will probably remain a mystery to everyone. But while The Witch of Edmonton’s true authorship is riddled with controversy, it is generally attributed to Thomas Dekker, John Ford, William Rowly, Etc. Many speculate that “Etc.” refers to John Webster who was working with the three playwrights (albeit on another play) during the time that The Witch of Edmonton was written.  

Bothered

Unlike the usual notion of classic plays, The Witch of Edmonton is not about kings and queens or princes and princesses. It is about ordinary people who are tempted to do evil for their own good. If meeting this kind of people bothers you, this play might not be for you.  

If you are also bothered by a stage production with a seemingly unfinished stage set, then you may have to head instead four blocks away to the multimillion dollar stage set of Spider-Man: Turn Off the Dark.  

And if it bothers you to sit inside a church to watch a play about a lovestruck guy who befriends the devil, a bigamist turned murderer and an old woman turned witch, you’ll probably be better off attending the more church-friendly and wholesome Tony ‘n Tina’s Wedding at nearby St. Luke’s Church (that is, if the ceremony isn’t over yet).  

But if you are bothered by the loud irritating sound of simulated thunder or by the inclusion of a talking dog in an otherwise highly realistic drama or by the fact that the witch and the murderer are eventually accorded the ultimate punishment for their evil deeds but the devil dog who actually pushed these two hapless victims to their sad fate remains scot-free, then you may just have to endure these minor annoyances. Because the alternative would mean missing a truly great staging of an engaging play by the most brilliant cast ever assembled on this side of Hell’s Kitchen.  

Bewitched

The Witch of Edmonton tells the fascinating story of Frank (Justin Blanchard) and Winifred (Miriam Silverman) who are both servants to Sir Arthur (Christopher Innvar). After Frank and Winifred’s secret marriage, Thorney (Frank’s father, played by Christopher McCann) convinces Frank to marry Susan (Christina Pumariega), who is the daughter of wealthy Carter (Sam Tsoutsouvas), in order to keep Thorney financially afloat. Susan ditches her suitor Warbeck (Craig Baldwin) and marries Frank, not knowing that Frank is already married. 

Nearby, poor old Elizabeth Sawyer (Charlayne Woodard) is maligned and accused by the townsfolk, led by Old Banks (Andre De Shields), of being a witch. Determined to seek revenge for the injustice inflicted upon her, Elizabeth turns to the devil who is disguised as a dog named Tom (Derek Smith). Under Tom’s evil spell, Frank kills Susan.   

Meanwhile, Susan’s beautiful sister Katherine (Amanda Quaid) is being pursued by her two suitors, Somerton (Carman Lacivita) and Old Bank’s son, Cuddy (Adam Green). Obsessed with winning Susan’s heart, Cuddy turns to Elizabeth for help.  

Despite the Justice’s (Raphael Nash Thompson) initial appeal for the townsfolk to stop tormenting Elizabeth, Old Ratcliffe’s (Everett Quinton) plea for justice for the horrendous death of his wife, Anne (also played by Everett Quinton), eventually leads to Elizabeth’s execution. Meanwhile, Katherine’s discovery that Frank is Susan’s killer also leads to Frank’s execution.  

Director Jesse Berger ends his miserable characters’ tragic journey with a dramatic juxtaposition of lifeless Frank hanging limp on the gallows on one side of the stage while Elizabeth agonizes amidst the fires of hell on the opposite side. In contrast to these horrific images, the rest of the characters are perfectly assembled in a picturesque tableau in the middle of the stage.  

The strength of this production hinges largely on the impressive performance of its entire cast. Stuart Howard, Amy Schecter and Paul Hardt have assembled a dream cast which would be the envy of every off-Broadway stage production.  

The three unconventional lead characters deliver exceptional performances. However, it is Adam Green who makes the most impact with his pitch-perfect interpretation of Cuddy Banks, the lovestruck gullible young man who falls for Elizabeth’s cauldron of tricks. With his subtle comic punches, Green is truly a joy to watch. This gifted actor is in a class by himself. 

As the servant Frank Thorney who marries Susan in order to save his father’s possessions, despite the fact that he is already married to Winifred, Justin Blanchard effectively conveys the complexity of his character as he transforms from a charming young man to a cold-blooded murderer to a repentant “dead man walking”. Blanchard succeeds in essaying his emotionally demanding role.  

As Elizabeth Sawyer, the poor old woman who is forced to make a pact with the devil in order to avenge for the townfolk’s unjust treatment of her, Charlayne Woodard also turns in a solid performance. 

The production’s technical elements are equally topnotch. Anka Lupes’ bare-bone stage design, which merely suggests and leaves the rest to the imagination rather than providing a full-scale highly-realistic elaborate setting, is strikingly gorgeous for its stark plainness.  

Cait O’Connor’s simple yet appropriate costumes are evocative of the milieu. Erin Kennedy Lunsford’s hair and make-up certainly adds dimension to the individual characters while Jessica Scott’s special effects provide realism, especially to the bloody and gruesome scenes.   

Peter West provides perfect lighting to every scene. Elizabeth Rhodes’ sound design and Daniel Levy’s original music complement Paul Rubin’s aerial effects to provide the necessary eerie atmosphere to the scenes. 

The other technical crews also contribute immensely in enhancing the production: Dan Scully’s projection design; Diego Daniel Pardo’s voice and speech coaching; Deb Gauoette’s realistic props; Rick Sordelet’s violence simulation; and Tracy Bersley’s movement orchestration. 

Indeed, Director Jesse Berger brilliantly orchestrates every element of this impeccable production to come up with a no-frill yet surprisingly astounding staging of an imperfect yet highly engaging stage play.  

Being seven years old means the beginning of one’s formal education. But Red Bull Theater, which consistently focuses on its theatrical niche all these years, has certainly accomplished so much in its territory. That’s pretty impressive and admirable for a seven-year old. 

And if after seeing this production, you’re still bewildered by the questions posed earlier, don’t bother anymore. The important thing is you’ve been bewitched by the theatrical wizardry of Red Bull Theater. And with a name like that, the theatre community should be thankful to this company for reinvigorating nearly-forgotten plays like this which would have otherwise been tragically relegated to the gallows. Just like poor Frank and Elizabeth.