Dobama’s ‘Witch’ is Worth Selling Your Soul

In Dobama’s “Witch,” the Devil is a first-class salesman who uses wit, insight, wordplay and sometimes even threats to convince mortals to trade him their souls in exchange for their worldly desires.

Every so often, there comes a review where the role of a critic might seem to overlap with that of a salesman, where the piece is so gushingly positive that you might assume the critic is receiving a fat check from the theater’s marketing department.

While I assure you that there’s no secret direct deposit coming my way, Dobama’s “Witch” has earned such a review. I have a much simpler job than the Devil; there are no souls on the line. Instead, it’s my job to use wit, insight and wordplay (I’ll hold off on the threats) to convince you to exchange the cost of a ticket and your time on Dobama’s well-deserving production of “Witch.”

In Jen Silverman’s 2018 play, the Devil takes the form of a young man named Scratch and visits the sleepy village of Edmonton. He sets his sights on the villagers’ souls and quickly begins dealing out lucrative trades. But when Scratch learns of the village’s “witch,” a misunderstood, lonely woman who was unjustly thrust to the fringes of society, he believes that he’s found an easy victim. Yet, Elizabeth is a tough customer, and the challenge to acquire–and understand–her soul becomes an obsessive fascination that brings the Devil to his knees.

Silverman’s “Witch” is a reimagining of “The Witch of Edmonton,” a 1621 Jacobean drama that tells the supposedly real-life story of a woman who makes a deal with the Devil to dole out revenge on those who have named her a witch. While Silverman’s show maintains the time period and characters, “The Witch of Edmonton” tells the story of a woman borrowing power from the Devil; “Witch” tells the story of a woman who is powerful of her own accord, independent of the Devil.

Through witty dialogue, colorful characters and moving monologues, “Witch” provides provoking commentary on the women’s experience and the burden of trying to find success and happiness in a society where progress is slow and change is stubborn.

It is also dazzlingly funny.

Director Carrie Williams mastered “Witch’s” dark and witty script. The banter and physical gags are handled with precise pacing that never misses its mark. And like any good piece that effectively delivers laughter and food for thought, the show continuously has you chuckling one moment and pondering a powerful truth in the next breath.

Not only is the script interpreted exceptionally well, but the show is also intelligently cast.

Lisa Louise Langford plays the outcast Elizabeth. In the first sentence of her opening monologue, Langford establishes herself as a force. This Elizabeth is strong, capable and wise, regardless of her poor treatment from the world. Yet, she is lonely and well-aware that she deserves better. Langford delivers the dichotomous nature of Elizabeth–the strength and the sadness–with grace and startling emotion.

Portraying the Devil is Michael Glavan. Glavan, with his Prince Charming-esque hair and endearing air is devilishly charming. In “Witch,” the Devil character is not all fire and brimstone; he is not all-powerful or hateful. Instead, he experiences gamuts of emotions like fear, discontent, confusion and sadness, making him very human-like. Glavan makes for an endearing Devil who is capable of eliciting humor, fondness and sympathy.

Together, Langford and Glavan make an intriguing pairing, with delicious banter and heartwarming chemistry.

While Elizabeth, who is rumored to “dance with the Devil in the pale moonlight,” continuously denies the Devil’s advances, some of the villagers have already fallen for his tricks. This includes Cuddy Banks, the heir to Sir Arthur’s throne, and his rival, Frank Thorney, a young man who has caught Sir Arthur’s eye and who is vying for the throne himself.

Cuddy, played by Mike Frye, is widely regarded as effeminate. This, and his infatuation with Morris dancing, have made him a weak candidate for succession of the crown. Fry, who is relatively short in stature, is practically swimming in his pantaloons and ridiculous red boots. He leans into the absurdity, giving a fantastic performance as the underdog who is often the object of derision.

Cast as Frank Thorney is Daniel Telford. Frank is everything that Cuddy is not: suave, manly and a womanizer. Telford successfully portrays the complicated character, fusing likability and unpleasantness. The most entertaining aspects of Telford’s performance are his complicated interactions with the maid, Winnifred, Sir Arthur and Cuddy–the last of which is hilariously sexually charged.

A regal Brian Pedaci embodies Sir Arthur, a man conflicted by his choice of heir. Pedaci is commanding, but has moments of absolute hilarity. His monologue in which he speaks to his late wife is a highlight of the show.

Entangled with the aforementioned men is Winnifred, played by Bridgett Martinez. Martinez, who spends a decent amount of time on stage catering to the nobles, is a more down-to-earth, likable–yet naive–character with whom the audience can relate.

While the characters speak in modern dialogue, they exist upon Laura Carlson Tarantowski’s period-inspired, stone and Tudor set design. They are also clad in clothes that are stylistically proper, but crafted with unique, fascinating combinations of fabrics by Inda Blatch-Geib. Josee Coyle’s lighting design includes an iron chandelier, but shifts dramatically when emotions run high. Even the sound design by Angie Hayes shifts between period-friendly jigs and modern music. These creative contradictions physically represent the contradictions that are so prevalent in the script–they are also beautifully pieced together.

You don’t have to trade your soul for theater that will entertain you, enrapture you and make you laugh as often as it makes you think. Just exchange the cost of a ticket and your time for a night at Dobama’s “Witch.” It’s quite the lucrative deal.

“Witch” runs through at Dobama Theatre, 2340 Lee Rd., Cleveland Heights. Visit dobama.org or call (216) 932-3396 for tickets, $27.98-$44.98.