{"id":346498,"date":"2023-11-13T16:34:49","date_gmt":"2023-11-13T21:34:49","guid":{"rendered":"https:\/\/dctheaterarts.org\/?p=346498"},"modified":"2023-11-13T16:34:49","modified_gmt":"2023-11-13T21:34:49","slug":"wickedly-engaging-musical-witch-casts-spell-at-stillpointe-theatre","status":"publish","type":"post","link":"https:\/\/dctheaterarts.org\/2023\/11\/13\/wickedly-engaging-musical-witch-casts-spell-at-stillpointe-theatre\/","title":{"rendered":"Wickedly engaging new musical ‘WITCH’ casts spell at Stillpointe Theatre"},"content":{"rendered":"

Mirror, mirror on the wall, which local musical enchants and enrages us all? WITCH, <\/em>produced by Stillpointe Theatre and onstage in Area 405 Gallery in Baltimore, is a wickedly engaging but ultimately slight new musical that fuses the history of witchcraft and contemporary socio-political issues with a strong cast of weird sisters. Directed by Ryan Haase with musical direction by Stacey Antoine, WITCH<\/em> invites us to join a welcoming coven for the evening.<\/p>\n

The industrial space\u2013turned\u2013stage conjures up the right mood: nicely designed and lighted by Haase with a large central cauldron, many candles, a scattering of leaves, blue and green-tinted lighting, and broomsticks affixed to the walls, while the house band (Stacey Antoine, Tanner Shelby, Chanel Whitehead, Joe Pipkin), propmaster Anna Platis, and evocative projections by Ben Pierce all add their own touches of hocus pocus.<\/p>\n

It\u2019s in this safe and sacred feminine space where we learn the stories of six historical witches.<\/p>\n

\"\"
JacQuan Knox as Ma Hawa in \u2018WITCH.\u2019 Photo by Joe Pipkin.<\/figcaption><\/figure>\n

There is a trio of women all accused during the height of witchcraft hysteria in the U.S. colonies, c. 1680s\u201390s: the Maryland legend of Moll Dyer (Amber Wood with a great rock voice), Mary Webster (a winsome Sarah Burton), and Rebecca Nurse (Christine Demuth). Despite what a former, twice-impeached president who is currently charged with 91 felonies and lost the popular vote twice may say\u2026 we may not actually be witnessing the greatest witch hunt of all time whenever we turn on the evening news. (And if you don\u2019t like that comparison, then WITCH <\/em>is not the play for you.)<\/p>\n

The lamenting song \u201cInnocent\u201d takes almost verbatim the words of Rebecca Nurse\u2019s self-defense during her witch trial as she articulates her piety and her innocence, her love of her God, family, and community. (Greedy neighbors hurled the charges against the well-respected grandmother over a property dispute.) As Demuth sings the plaintive and touching hymn, the names of victims of the Salem Witch Trials scroll across a moon-like screen behind her.<\/p>\n

The story of actress and educator Margaret Hamilton (Rachel Blank, a strong belter) \u2014 best known for her iconic portrayal of the Wicked Witch of the West in The Wizard of Oz \u2014<\/em>\u00a0begins to explore how her long career has been reduced to one role. Saint Joan of Arc\u2019s (an energetic Caitlin Weaver) trial for heresy and witchcraft is comically depicted as a rigged game show, complete with a ticking clock and buzzer. (George Bernard Shaw\u2019s nuanced Saint Joan, <\/em>this ain\u2019t.) We are also given the much more recent plight of Ma Hawa (JacQuan Knox, in a promising Stillpointe debut), a Ghanan first wife ousted by her husband\u2019s new spouse and banished to the Gambaga Witch Camp, reminding us that over 1,000 people across the world are formally accused of witchcraft each year.<\/p>\n

Through these women\u2019s stories, the musical connects to many contemporary issues: abortion rights, rape culture, sexual objectification, unrealistic beauty standards, and more. \u201cW<\/strong>hy i<\/strong>s t<\/strong>his c<\/strong>ontinually h<\/strong>appening?\u201d asks the Supreme Witch. Why, indeed?<\/p>\n

Each witch\u2019s story is introduced by such an acronym \u2014 \u201cW<\/strong>hy i<\/strong>sn\u2019t t<\/strong>he c<\/strong>hurch h<\/strong>onest?\u201d \u201cW<\/strong>omen i<\/strong>n t<\/strong>rouble c<\/strong>hoose h<\/strong>elp\u201d \u2014 and the various histories are loosely tied together by the Supreme Witch (a riveting Kristen Zwobot), who acts as the play\u2019s narrator, stirring her large cauldron and asking each witch to take centerstage for her number, before throwing an emblematic totem \u2014 such as a ring or herbs \u2014 into the potion.<\/p>\n

\"\"
Sarah Burton, Christine Demuth, Caitlin Weaver, Kristen Zwobot, Rachel Blank, JacQuan Knox, and Amber Wood in \u2018WITCH.\u2019 Photo by Joe Pipkin.<\/figcaption><\/figure>\n

Each member of the cast is bewitching in her own right, especially in the haute gothy get-ups designed by Kitt Crescenzo with hair and makeup by Danielle Robinette. (Christopher Kabara performs all the male voices in the play from a raised platform behind the audience.) The strong ensemble is all game to camp it up as needed, belt out some ballads, perform some broomography (choreographed by Haase and Kristin Rigsby), and make us ponder the connections to our own fraught moment in time and the politicized, gendered rhetoric we encounter, from \u201cnasty woman\u201d to \u201clock her up.\u201d<\/p>\n

This may be best exemplified in the jazzy and jaunty political anthem \u201cSweep Them Out\u201d about the power of voting or the final song \u201cHung Up,\u201d with its refrain of \u201cNevertheless she persisted, nevertheless she resisted.\u201d<\/p>\n

And that\u2019s nicely connected to the history of WITCH<\/em>, first conceived of by Matt Conner and Gregory Smith in 2016, as they anticipated the misogyny that the first woman president would receive in her role (and in the case of Hillary Clinton, the decades of vitriol she had already endured). By the time the show first appeared onstage at Creative Cauldron (a very apropos location for many reasons) in 2018, the work also reflected the Women\u2019s March and #MeToo movements. For this production at Stillpointe, Conner and Smith returned to and revised their previous work.<\/p>\n

Even in this revised production, the musical still feels a little drafty. The concept is fantastic, but the book is decidedly stronger than the score. Because of the diversity of time periods, character backgrounds, and themes, a greater variety of musical genres and styles could really get this work off the ground. The various histories could be better interwoven with a reprise, and we could spend a little more time with each witch if they had more than one song each. (A few of the songs such as \u201cPretty,\u201d about beauty standards, and the final few numbers “Crone Song\u201d and \u201cClosing the Circle\u201d are especially strong.) Clocking in at just over an hour, the whole spell ends quicker than someone from Kansas can drop a house on the Witch of the East.<\/p>\n

There are also opportunities to create a more inclusive concept of \u201cwitch,\u201d considering the lives and stories of practicing witches, challenging white feminists\u2019 reclamation of the term and history of the witch, and bringing in more varied perspectives and performances (such as brujer\u00eda<\/em> or queer and trans magick practicing). The term \u201cwitch\u201d remains purposely ambiguous in the musical, denoting any woman (and occasional man) who was on the outskirts of society \u2014 elderly, disabled, unattractive, or otherwise different enough. They are also healers and protectors, visionaries and saints, and as the play cleverly proves: witches are our neighbors, our mothers, our friends, and ourselves.<\/p>\n

In one of the great strengths of this promising flight of fancy, the Supreme Witch asks for audience reflection and participation, such as writing love spells in invisible ink, noting our own accepted superstitious practices, or joining in on choruses. It pulls the audience into the making of magic, the healing powers of sisterhood and representation, and the promise of a brighter future for all witches ahead.<\/p>\n

Running Time: 65 minutes with no intermission.<\/p>\n

WITCH: A New Musical <\/em><\/strong><\/a>plays through November 25, 2023, presented by Stillpointe Theatre<\/a> performing at AREA 405, located at 405 E Oliver St, Baltimore, MD. Purchase tickets ($20\u2013$35) online<\/strong><\/a>.<\/strong><\/p>\n

The program for WITCH<\/em> is online here.<\/a><\/p>\n

COVID Safety:<\/strong> Masking is optional and Stillpointe Theatre offers masks for patrons who wish to use them during the performance.<\/p>\n

WITCH: A New Musical<\/em> by Matt Conner and Gregory Smith<\/strong><\/p>\n

PRODUCTION TEAM
\nRyan Haase:* Director, Set\/Lighting Design & Choreographer
\nStacey Antoine:* Music Director
\nKirstin Rigsby: Choreographer
\nDanielle Robinette:* Hair and Makeup
\nKitt Crescenzo:* Costumes
\nBen Pierce: Projections
\nAnna Platis:* Props
\nChristine Demuth:* Dramaturg
\nKateri:* Program
\nNolan Cartwright: Poster<\/p>\n

CAST
\nAmber Wood: Moll Dyer
\nCaitlin Weaver: Joan of Arc
\nChristine Demuth:* Rebecca Nurse
\nChristopher Kabara:* Male Voices
\nJacQuan Knox: Ma Hawa
\nKristen Zwobot: Supreme Witch
\nSarah Burton:* Mary Webster
\nRachel Blank:* Margaret Hamilton<\/p>\n

BAND
\nStacey Antoine:* Piano\/Conductor
\nTanner Shelby: Guitar
\nChanel Whitehead: Cello
\nJoe Pipkin:* Percussion<\/p>\n

*Denotes StillPointe Company Member<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

In this safe and sacred feminine space, we learn the stories of six historical witches. By COLLEEN KENNEDY<\/p>\n","protected":false},"author":69,"featured_media":346523,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[17,18],"tags":[2727,357,2140],"class_list":{"0":"post-346498","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-maryland","8":"category-reviews","9":"tag-gregory-smith","10":"tag-matt-conner","11":"tag-ryan-haase"},"acf":[],"apple_news_notices":[],"yoast_head":"\nWickedly engaging new musical 'WITCH' casts spell at Stillpointe Theatre - 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