By Shelby Coleman
University of Cincinnati’s College Conservatory of Music’s Acting program’s (CCM’s) Witch is at The Carnegie this week. Witch is an adaptation of the 400+ year old story “The Witch of Edmonton.” It focuses on the complex relationship between human desires and the price we are willing to pay to see these desires come to fruition.
The Story of “Witch“
A charming devil arrives in the quiet village of Edmonton to bargain for the souls of its residents in exchange for their darkest wishes. Elizabeth should be his easiest target, having been labeled a “witch” and cast out by the town, but her soul is not so readily bought. As the devil returns to convince her – and then returns again – unexpected passions flare, alliances are formed, and the village is forever changed. An inventive retelling of a Jacobean drama, this sharp, subversive fable debates how much our souls are worth when hope is hard to come by.
Performances in “Witch“
Nico Graves leads the cast as the “junior” devil, Scratch, that has come to Edmonton to seek the souls of the villagers in exchange for their hearts desire. The confident and casual demeanor Graves brings to the stage allows the audience, as well as the other actors, to be drawn into the shiny treasures they promise. The chemistry created on stage between Scratch and Elizabeth, Debra Najor, is palpable. The audience witnesses a noticeable shift between the confident demeanor each character has in their everyday lives and the cautious momentum when it comes to wanting more than their current station. This provides an additional layer to the wants and desires of the seemingly “normal” villagers giving the audience a glimpse of the want for more in the world, even if you must burn it all down to start anew.
Carson Mehlbauer as Cuddy, the presumed complacent and arrogant son of Sir Arthur (Samuel Strickland), provides lovely moments of comic relief throughout the production while still giving an immensely authentic performance. Mehlhauer captures the adolescent yearning to be nothing more than a dancer but gives us a glimpse at what true desires lay beneath this pipe dream. He brings to light the longing to be nothing more than one’s true self but the inability to do so within his family confines. We, as an audience, have the utter joy of experiencing the rises and falls of Cuddy (Mehlbauer) navigating this half existence. To see Mehlbauer find his voice, even in an unconventional way, leaves the audience with a sense of victory for his story.
More Strong Performances in “Witch“
Almost all audience members can feel unity with Staylie Grace’s performance as Winnifred, the secret wife to Sir Arthur’s “heir in training” Frank. Grace finds a similar character arc as Mehlbauer in wanting only the truth to be known. They, however, are left feeling much less than a victory. Grace brings a different plot line to the story by ignoring the usual desire for more and, instead, thirsting for nothing more than the life she has always known. Many audience members could have a hard time admitting that they want so little when being given the opportunity to have anything they could imagine. However, with the deliciously gritty performance of Grace, we are able to easily reconcile with how this desire, as simple as it may seem, could be the truest of them all.
Direction and Design
Audiences are thrilled by the return of director Lindsey Augusta Mercer, responsible for the recent Carnegie productions Tick…Tick…Boom! and Kinky Boots. Mercer highlights the authors choice to forego Shakespearean dialogue for contemporary vernacular in this brilliant dark comedy that is an adaptation of “The Witch of Edmonton.” Mercer has created a world that forces the audience to think about what drives their decisions and whether the ensuing consequences are worth it. The distinction between the contemporary dialogue, set and mannerisms of the actors create a universe that shows that perversity that can grow from the smallest seed. The stark modern coldness of Doug Stock’s set design in contrast with the more period correct rich fabrics and layers of Maria Fernanda Ortiz Lopez’ costume design helps to further this division.
The use of sound throughout this production furthers the movements and timeline of the different souls. Sound immerses us into the world Mercer and their production teams have conceived. Sound Designer Kaitlyn Barnett Proctor’s use of clashing music for scene and “soul” changes meld beautifully with the background noise of a busy castle and flickering candles. The sounds are fused so effortlessly with the world created by the entire production team that they fade away into the background as the scenes continue.
Overall
This production should be at the top of your list! The collaboration between CCM and The Carnegie is some of the best theatre this city has seen. I can only look forward to what the future of this partnership will be. Don’t miss out on the opportunity to question what you would be willing to give to gain your hearts’ desire.
Tickets to CCM’s “Witch” at the Carnegie
Witch runs through November 17th 2024 at the Carnegie at 1028 Scott Blvd, Covington, KY 41011. Purchase tickets at the box office, online at https://thecarnegie.com/whats-on/witch/#Tickets_in, or by calling 859-957-1940.
