Pgh Lesbian Correspondents

When I learned about a local production of a play about a witch originally drafted around 1621, but updated by playwright Jen Silverstein … I was intrigued. I did not know what to expect, but the involvement of Shammen McCune gave me confidence I would be satisfied. I caught their performance as Gandolf at the Public in October and as Mrs. Reynolds with Christmas at Pemberley at City Theatre in December.

I brought along my high school classmate and current adult friend, Stephanie. We had both survived Pre-AP and AP English classes crammed to the gills with Puritanical witch adjacent content (Scarlet Letter, The Crucible, Ethan Frome, etc.) We were prepared for this show!

What landed was a play of modern sensibilities about witchcraft and devilment.

The setting is old-timey* with the expected costumes and props. But no accents so it could easily be recent or long-ago, here in the US or far away in another land. We are in a small village with its own Lord of the Manor, Sir Arthur Banks (Brett Kennnedy) who lives in a castle with his adult son Cuddy (Matt Henderson) and his foster son, Frank Thorney (Ryan Patrick Kearney). Frank grew up in the village in deep poverty. Winnifred (Lorna Lominac) the housemaid is also from the village and his secret wife. We see them interact in the castle dining hall.

Elizabeth Sawyer (McCune) also a village native lives a solitary life in her cabin, suspected of witchcraft. Circling both homes is Scratch (Max Pavel) aka the Devil. Although it seems he is a junior devil so more ‘a devil’ and not so much ‘the’ devil.

The set was good. Elizabeth’s humble cottage was far more welcoming than the castle dining hall, very cottage-core that implied she had some resources that are not referenced.

And Elizabeth seems humble, modest in her desires and wishes – she seems to seek only a peaceful existence, not covet anything for herself. She’s clearly afflicted by the abuse and trauma her neighbors have heaped on her. But she seems steady and even resilient.

The Lord was so brokenhearted when his wife died that he promply forgot to raise his son and seems oddly surprised that Cuddy didn’t turn out the way his father hoped. Emphasis on hoped, not taught. But even adorable Cuddy has his moments where he is his father’s son. Cuddy is a seeming misfit who likes to dance and dream about men, but is cunning enough to create his own plan to secure his inheritance.

Frank hits all the notes for ambitious poor young man of yesteryear – resents his past, marry and deny his wife, then deny their child, plus some bullying. Frank is the hard worker and good person in an economy that grinds the goodness out of him. He’s plucked by the Lord to inherit that very same system. He’s on top of the world, but has no stated intent of changing it for future generations of Franks or his own son.

Nothing changes.

Scratch makes a deal for the souls of Cuddy and Frank, then sets his sights on Elizabeth. These conversations beg the question of what use is a soul anyway? No one is particularly religious. Given that the devil we know is a junior executive, one can assume soul exchange is an long-established industry. Cuddy and Frank give it up with ease, a seemingly foolish and greedy choice that leads them fulfill their destinies perhaps indvertently.

Elizabeth demurs. Scratch is intrigued and their flirtation begins. When Elizabeth finally states her price to sell her soul, it is genuinely shocking. Even to the devil who has confessed his weariness with his work.

We rarely look at historical works through a trauma lens. But here we have five characters whose traumas have clearly driven their lives – not gods, not magic, not fate or fairness, The struggle to survive in a brutish world without love, companionship, or enough food to eat. The relentless struggle to find a place in that social order without truly dreaming how to transform the world.

Sons inherit. Marriages are forever. Men take advantage of women. Misfits are condemned. Loneliness. Hunger is part of life even while affluent eat with a casual expectation. The devil does his work until he, unlike others, begins to imagine a different path.

Solitary Elizabeth finds comfort and companionship, but willingly casts it aside to change the world’s embrace of trauma.

Are we brave enough to do the same?

This is a high quality performance. Very much in line with an Off The Wall production, but it is independent – financed by the actors.

McCune is masterful as the sorrowful and lonely prophet. Pavel’s metamorphosis is believable as is his mood swings from charlatan to lost boy. At one point he lights the fire to save Elizabeth the effort, hinting at the good in him still. A small symbolic reflection of their relationship.

Each actor brought a forlorn element to tie their destinies together. Their ease with one another reflects well on the method they used to prepare for the play. Elizabeth and Winnifred in particular incorporate intentional movement with the props to add to their stories.

While the audience has a chance to consider the traumatic lives of all characters, there is of course no resolution to the grinding inevitability it brings. What use is a soul when nothing ever changes?

What matters the sins of any one person in a world with no regard for their humanity?

This performance reminds me of Abigail 1702 at City Theatre, also an exploration of the traumas of the witch hunts. I saw it in 2013 and it has ‘haunted’ me ever since.

I have a small crush on McCune, in awe of their capacity to take on three intense leading roles in a short period of time. And the season isn’t over yet. Is there such a thing as a theatrical crush? Let’s ask Patti Lupone.

Witch continues at Carnegie Stage through March 22.

It is a good fit with Off The Wall, the resident theatrical company of Carnegie Stage. I love that theater and know you will, too. It is a place where I feel welcomed, affirmed, and comfortable. Added bonus of free parking and good nearby restaurants.

This is a busy time of theater season – Who’s Afraid of Virginia Woolf at the Public, Birthday Candles at City Theatre with an even busier April ahead. Choose wisely. I saw Kimberly Akimbo last Tuesday, Witch Saturday, and have plans for Annie on Friday, Birthday Candles on Sunday, and Virginia Woolf the following Sunday. Who am I? A person who has a lot of good friends interested in theater and willing to drive.

Witch is one of the few plays I’d like to catch a second time.

* The one thing that struck me oddly was the inconsistency in the costuming and props. The painting used to represent the departed Lady Banks dates to 1830. Lord Banks attire is closer to 1700. Morris dancing lost favor during the Industrial Revolution circa 1760. The metal tableware hearkens back to Medieval times. The painting distracted me a bit because the fashion was clearly from the Georgian era. It didn’t really work as a “could be anytime in history” array of items. Elizabeth’s cottage seemed pretty ambiguous. Clearly, I am overthinking this.