Lyndsey Turner’s production brings the magic of witches to life on stage with humor and imagination
In the world of Roald Dahl’s “The Witches,” these dangerous creatures are disguised as ordinary women, but their intentions are far from ordinary. In a musical adaptation of Dahl’s darkly delightful tale, director Lyndsey Turner brings the story to life with wit, imagination, and a touch of feminism. Set in a Bournemouth hotel, the plot revolves around young Luke and his eccentric grandmother as they unwittingly find themselves at the center of a coven of witches plotting to turn Britain’s children into mice. With a script by Lucy Kirkwood and songs by Dave Malloy, this production offers a fresh take on Dahl’s classic story.
A Delightful Antidote to Female Conformity
Turner’s production presents a delightful antidote to enforced female conformity. Sally Ann Triplett shines as Luke’s libertine grandmother, a character who is fiercely independent and obsessed with witches. Triplett’s portrayal adds an edge of vulnerability that was not present in the original book, offering a nuanced and powerful performance.
Effervescent One-liners and Catchy Songs
Kirkwood’s script is filled with effervescent one-liners that capture Dahl’s linguistic agility and imagination. While some of the songs by Malloy and Kirkwood may still be in development, there are a few standout numbers that bring the story to life. “Bruno Sweet Bruno,” a fantasy about a sugar high, is a toe-tapping delight sung sensationally by Cian Eagle-Service. Another memorable song, “Wouldn’t It Be Nice?” sung by Katherine Kingsley as the Grand High Witch, is a sultry and comic manifesto against children.
Balancing Comedy and Darkness
While the witches in Dahl’s universe are meant to be abominable, Turner’s production leans more towards comedy than horror. The witches are portrayed as comical rather than truly terrifying, and the children’s transformations into inanimate objects are presented with a lo-fi cutesiness. However, the script still retains Dahl’s dark undertones, and the performances bring a balance of humor and darkness to the stage.
Strong Performances and Set Design
Bertie Caplan brings energy to the role of Luke, although the tender bond between Luke and his grandmother feels slightly lost. Kingsley’s portrayal of the Grand High Witch is a pleasure to watch, as she embodies a dominatrix in a pastel suit. Daniel Rigby’s portrayal of the hotel manager adds a sitcom-like element to the production. Lizzie Clachan’s revolving set design smoothly transitions between scenes, although the pace does lag in the second act.
Conclusion: “The Witches” musical adaptation offers a fresh and entertaining take on Roald Dahl’s beloved tale. With its wit, imagination, and strong performances, Lyndsey Turner’s production brings the magic of witches to life on stage. While the production may lean more towards comedy than darkness, it still captures the essence of Dahl’s storytelling. Whether you’re a fan of the original book or new to the world of witches, this musical adaptation is sure to leave you laughing and entertained.
Leave a Reply