Last chance to see ‘Witch’ at Long Beach’s Garage Theatre

Photo by Diana Kaufman

LONG BEACH — Jen Silverman’s ‘Witch’ was a huge success in its West Coast premiere at the Geffen Theatre in 2019. It has now been reimagined by the Garage Theatre. This is a theatre that takes risks. Final performances are August 7-9. This a bewitching tale that’s worth a visit.

The Garage Theatre has been Long Beach’s Off Off-Broadway Theatre for 25 years. That alone is a major accomplishment. In the spirit of non-commercial theatre, it is committed to creating new theatre audiences and producing affordable theatre with a unique voice. This is a low budget storefront theatre with 32 seats so intimate that the actors are inches away from you. Just entering the theatre you experience the energy of a diverse audience, including the enthusiasm of young people.

It’s a welcome relief from corporate theatre that often gives us an ongoing rehash of musical theatre. When most people think of theatre they think of musical theatre. But this proves there is so much more.

Silverman is a prolific contemporary playwright, TV writer, novelist, and poet. ‘Witch’ was commissioned by Chicago’s Writer’s Theatre in 2018, where it had its first success.

‘Witch’ is inspired by ‘The Witch of Edmonton,’ a 1621 Jacobean play. Based on a real case in England, it challenged what was then an obsession with witches by presenting this witch as an innocent woman only turned vengeful by her persecution, 70 years before the Salem witch trials and executions.

The period setting is the same, with a handful of the original characters, modern language, and a contemporary sensibility. It’s a wickedly dark comedy exploring themes of desire, hope, despair, gender, and class.

The play centers around a charming and handsome devil named Scratch, who arrives as a well-dressed, smooth young junior salesman in an English village to offer residents a bargain: their darkest desires in exchange for their souls. Rory Cowan as Scratch is the highlight of the production.

Elizabeth Sawyer, played by Collette Rutherford, is an outcast labeled as a witch by the villagers. She is, of course, not a witch, and is instead a smart, self-reliant woman. She is a holdout from Scratch’s offers, continually refusing them despite having every reason to seek revenge on those who ostracized her.

The widowed Sir Arthur is concerned about his legacy. Paul Knox zings like an arrow and is especially touching in his monologue with his dead wife.

His son, Cuddy, is his natural heir, except that all Cuddy wants to be is a Morris dancer. Morris dancing is an all-male folk dance giving rise to rumors that his favorite flavor may not be wife. Bobby Zelsdorf is a little devilish too, giving us amazing facial expressions and eyes that upon times appear as if to pop out of their sockets.

Frank, Rob Young, is the ambitious peasant and now adopted son, who seeks to secure his future by outwitting Cuddy and inheriting the estate.

Sir Arthur’s servant Winnifred, sweet, sarcastic, and delightfully played by Spence Karlak. She is secretly married to Frank and pregnant. She is tempted with Scratch's offer. She simply wants to get by. Her wish to be buried beside Frank, even after his betrayal, highlights the play's exploration of loyalty and human desire.

To Cuddy’s horror, Sir Arthur, assuring Cuddy he will be well taken care of, has willed his estate to Frank whom he has welcomed into his castle and given a fine horse, and for whom he is arranging a marriage.

There is a sexual tension between Cuddy and Frank that is resolved by the challenge of a fight in which Cuddy kills Frank, choreographed by Jeff Budner. This results in Cuddy’s descent into madness, performing an increasingly manic Morris dance choreographed by Jen Shetland.

Buying Cuddy and Frank’s souls proves child’s play for the devil, but oddly, he doesn’t fare as well with Elizabeth the outcast. He returns with a new pitch, and then another, until the two are spending all their time together, “off the clock,” he assures her — and he’s forgotten all about the events he set in motion over at the castle. He is enamored with her.

This unexpected connection between this so-called witch and devil is the emotional and intellectual heart of ‘Witch.’

At the end of the play, Scratch the junior salesman, pleads with the Devil himself:

“I’m very grateful for everything you have done for me… I’m not the best…Things are coming apart at the seams… Every morning I do relaxation exercises working up my body. When I get to my heart I have a panic attack…Be happy in small ways… What if we have to burn everything down…I find it hard to have hope.”

Directors Alexandria McGinness and Eric Hamme are innovative in their staging. One effective moment is when Cuddy sits in his father’s chair and we see a very small deflated man. Perhaps the pace of the piece is a little slow.

Scenic designer Yuri Okahana-Benson creates a special minimalist set. A wooden frame that holds what appears to be picture frames.

Video content designer Blythe Ryther creates extraordinary video images in the picture frames that change from scene to scene. Moving clouds, castles, etchings of devils, lists of punishments, actual reflecting mirrors, and more.

Sound designer Matari2600 creates a remarkable background of eerie sound punctuating the scenes throughout. And a dramatic and disturbing change in Scratch’s voice that is startling.

Lighting designer Mcleod Benson uses minimal lighting equipment effectively. The mist that drifts through scenes is dramatic.

Costume designer Diana Kaufman is especially effective in her costuming with the well-dressed Scratch, Sir Arthur Cuddy and Winifred.

Off Off-Broadway is alive and well at the Garage Theatre in Long Beach.

Final performances August 7-9, 8 pm.

The Garage Theatre
251 E 7th Street
Long Beach, CA 90813

Tickets 562-283-3732 or online at TheGarageTheatre.org

Next Up: The west coast premiere of ‘Predictor’ by Jennifer Variz, Sept. 12 – Oct. 11