Berkshire on Stage

by Dan Mayer

The term witch can invoke a lot of different meanings depending on the context. In this case, it’s a label used to condemn and control women who don’t fit into the restrictive roles society has prescribed for them. Confetti Stage, Inc. continue their “Season of the Witch” with Jen Silverman’s Witch, a darkly comedic retelling of the English Jacobean play The Witch of Edmonton, and the production is as funny as it is poignant.

The show hits the audience hard right out of the gate as Amber Acosta (Elizabeth) stands alone onstage delivering the opening monologue. Frustration, sorrow, and barely-contained rage resonate in her voice as she contemplates ending a world that has told her repeatedly that she has no place in it. It’s a powerful moment that sets the uneasy tone for the rest of the night.

Elizabeth is shunned by the village of Edmonton, labeled a witch and blamed for all manner of misfortunes. Scratch (Vincent James) is the devil (or a devil at least), and he comes to town looking to make some deals. He expects Elizabeth to be eager to sell her soul for revenge, but is surprised when she turns him down. As he speaks with her day after day, the two of them gradually become close, each starting to reconsider their place in the world. Meanwhile, a heated rivalry brews between Cuddy (Matt Bonacci) and Frank (Brandon Macey), each of whom has made their own deal with the devil. They both vie for the favor of Cuddy’s father Sir Arthur (Mike Costa), and Frank’s neglected wife Winnifred (Cecelia Gray) is caught in the middle.

Although the story is set in 17^th-century England, the dialogue is much more modern. This mostly works to the play’s benefit, as the humor feels very current, and the sharp observations on gender norms and societal expectations don’t lose any clarity from antiquated terminology. The dialogue is a volatile mix of campy and contemplative, and while that’s a mix that can easily feel disjointed or inauthentic, Silverman gets the recipe just right.

As good as the script is, the cast really make it sing. Acosta brings both sarcasm and sincerity to the role of Elizabeth, with a vocal performance that constantly tugs at the heartstrings. Bonacci gets a lot of the laughs, but also terrifically handles Cuddy’s tragic turn, as well as some authentic Morris dancing. James delivers a delightful multi-layered performance, depicting a devil with texture and a touch of vulnerability. Macey is largely stoic, with a sinister edge as Frank’s ambitions come to light. Costa’s delivery as Arthur is excellently understated, befitting an aging lord who is awkwardly funny without trying to be. Gray does a lot with facial expressions and gestures, playing up Winnifred’s dwindling patience as she deals with the men of the castle, but some of her dramatic lines are very sobering as well, especially towards the end.

The lighting (Laura Darling) and sound design (Quinn Solace, Shaya Reyes) brilliantly support the tone of the scenes. The devil’s red light is sort of a recurring joke whenever James plays up the fiendish side of his character, but the lighting also transitions through several different moods as the story goes on. The soundtrack softly accompanies the more tender emotional beats without overwhelming things.

Witch is a lot of fun, as well as a clever critique of patriarchal norms that rings true to modern day. This show is highly recommended, particularly for any misunderstood young women or fans of Morris dancing.

Confetti Stage, Inc. presents Witch by Jen Silverman, directed by Brooke Stanley, runs from May 8^th – 17^th, at Albany Masonic Hall, 67 Corning Pl in Albany, NY. Cast: Amber Acosta as Elizabeth, Matt Bonacci as Cuddy, Vincent James as Scratch, Brandon Macey as Frank, Mike Costa as Sir Arthur, and Cecelia Gray as Winnifred.

Producer: Vincent James. Stage Managers: Vinny Miranda and Joe Plock. Set Designers: Brooke Stanley and Vincent James. Costumers: Brooke Stanley and Vincent James. Lighting Designer: Laura Darling. Fight Choreographer: Ellen Cribbs. Intimacy Coordinator: Laura Darling. Dance Choreographers: Matt Bonacci and Ruth Olmsted. Sound Designer: Quinn Solace. Sound Design Assistant: Shaya Reyes. Light and Sound Board Operator: Liam White. Program Editor: Lucy Breyer.

Performance dates are Thursday – Sunday, May 8-10 and 14-17. Thursday, Friday, and Saturday curtains are at 7:30 pm, and Sundays are matinees only at 2:00 pm. Tickets are $18, $12 for students, or $10 for groups of 8 or more. Runs approximately 100 minutes without intermission. Trigger warning: this show depicts violence. Tickets are available online. Visit https://confettistage.org for more information.