• Advertise
  • Request Review
  • Write for Us
  • Privacy
  • Login

Theatre Bubble

The UK Theatre Network

Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
To find out more, including how to control cookies, see here: Cookie Policy
  • Reviews
  • News
  • Features
  • Spotlight
  • Opinions
  • Interviews
  • Guides
  • Tickets

Jane Wenham: The Witch of Walkern

January 11, 2016 by Gemma Scott Leave a Comment

Review of: Jane Wenham: The Witch of Walkern
Produced by:
Arcola Theatre, Out of Joint and Watford Palace Theatre, in association with Eastern Angles
Price:
£17/£19 (£14/£15 concessions)

Reviewed by: Gemma Scott
Rating:
4
On January 11, 2016
Last modified:January 11, 2016

Summary:

Rebecca Lenkiewicz's play, about an 18th century witch hunt, explores how women are expected to behave and how suspicion can destroy a community,

More Details

Jane Wenham: Witch of Walkern will inevitably be compared to plays like Arthur Miller’s The Crucible or Caryl Churchill’s Vinegar Tom. But, by setting this play a few decades later, in 1712 when witch hunts were much less common, writer Rebecca Lenkiewicz presents us with a more nuanced look at the way unconventional women were treated. It begins shortly after a woman has been hanged for witchcraft in a Hertfordshire village, with her daughter Ann left alone and struggling to cope. Reverend Crane is convinced that there are more witches in the village, though the bishop doesn’t believe in them and tries to dissuade him. The accusations build up around Jane Wenham, until Crane imprisons her and tries to prove her guilt. Many of the local people are initially sceptical of the claims, but the death of a child leaves them desperate for answers, and the village becomes increasingly distrustful of this old woman who collects herbs and refuses to be married.

An Out of Joint, Watford Palace Theatre and Arcola Theatre co-production, in association with Eastern Angles. Jane Wenham: The Witch of Walkern. Photo Credit: ©Richard Davenport 2015, Richard@rwdavenport.co.uk, 07545642134

The first act cleverly avoids any sense of the mass hysteria that often goes with this topic. Instead it focuses on the atmosphere of suspicion that women were under, constantly having to monitor their words and behaviour for fear of showing any abnormality. The second act is powerful and graphic, painfully depicting a mother’s grief and showing the torture that ‘witches’ were forced to endure in the name of evidence. This is a production that raises interesting questions about the roles women are expected to play in society. It’s impossible not to view it through modern eyes, considering feminism and intersectionality – being a woman was certainly a struggle, but things were even more difficult if you weren’t straight, white and married. Partnerships are important here – Reverend Crane is single, but his gender and his commitment to god keep him safe from scrutiny, while Ann and Jane are both considered suspicious.

James Button’s design is simple but cleverly used – a circular wooden floor where gallows stand ominously throughout, a reminder of what has happened, and what could easily happen again. This leaves space for some inventive lighting design by Richard Howell, with lights set into the stage representing a river, and an opened trapdoor becoming a fire for the women to tell stories around in gorgeously haunting shadow. The Eighteenth Century costumes are also lovely – washed-out greens and beiges for the poorer villagers, austere black and white for the religious men.

The acting is taut and polished throughout, with an exceptional performance from Cat Simmons, who has real presence and grace as Kemi Martha, the bishop’s Caribbean housekeeper and reluctant mistress. Kemi seems to be the rational force of the piece, honest and caring in a world that does not look kindly upon strangers. There is considerable humour in the production too, especially in the conversations between the reverend and the bishop. The fanatically religious reverend’s arguments become increasingly ridiculous, as he accuses Jane of everything from child murder, dancing “in a sinister fashion” and sleeping with a chicken. The bishop, played brilliantly by David Acton, blinking and twitching with always-polite indignation, provides much more of a reasoned, contemporary argument.

Though Jane Wenham (played by Amanda Bellamy) often seems more of a projection of the other characters’ ideas than a fully fleshed-out character, this study of village life, with all its guilt and secrets, is an interesting look at how suspicion can destroy a community.

Jane Wenham: The Witch of Walkern will be continuing its run at Arcola Theatre until 30th January, at 19:30 every day except Mondays and 15:00 on Saturdays. You can book your tickets from 020 7503 1646 or www.arcolatheatre.com
Director Ria Parry
Designer James Button
Lighting Designer Richard Howell
Composer and Sound Designer Max Pappenheim
Puppetry Matt Hutchinson
Photo by Richard Davenport
Francis Hutchinson/Saul Paterson David Acton
Jane Wenham Amanda Bellamy
Priddy Goodstern Judith Coke
Samuel Crane Tim Delap
Ann Thorn Hannah Hutch
Fergal McGuire/The Pricker Andrew Macklin
Bridget Hurst/Widow Higgins Rachel Sanders
Kemi Martha Cat Simmons

 

Author: Gemma Scott

Filed Under: Review

Join the discussion Cancel reply

INTERVIEW / Richard Vergette on Leaving Vietnam

We spoke to Richard Vergette, writer and performer of Leaving Vietnam. Richard plays a war veteran who feels ignored and [Read More]

Review / The Journey To Venice at the Finborough Theatre

Bjorg Vik’s play The Journey To Venice is a delightful production, entertaining yet full of pathos. A play with a [Read More]

INTERVIEW / Tzarini Meyler talks KITES at VAULT Festival

We spoke to Artistic Director of LipZinc Theatre, writer and performer Tzarini Meyler about her upcoming show at VAULT Festival [Read More]

INTERVIEW / Naomi Westerman talks BATMAN (aka Naomi’s Death Show)

We spoke to writer and performer Naomi Westerman from Little But Fierce about her upcoming show at VAULT Festival Can [Read More]

INTERVIEW / Angharad Jones on The Swearing Jar 

From New Perspectives, The Swearing Jar is a comedy about love, heartbreak, living with the past and accepting the future. We spoke to director Angharad [Read More]

Top Posts & Pages

  • Tim Edge talks Under the Black Rock
  • 5 Stage Elements to Consider for a Rousing Theatrical Production
  • Richard Vergette on Leaving Vietnam
  • Angharad Jones on The Swearing Jar 
  • Crowdfunding In Theatre - An Overview
  • Jane Eyre at the National Theatre
  • Art of Believing at The Space
  • The Choir of Man at London Wonderground
  • A Midsummer Night's Dream at Brasenose College, Oxford
  • Nigel Lindsay Added to Al Smith's Harrogate
  • Gemma Scott
    Contributor

  • January 11th, 2016
  • comment iconNo Comments
  • FacebookTweetLinkedInEmail

    Newsletter

    Enjoyed what you've read? Get even more great content directly to your inbox - Completely Free

    About Theatre Bubble

    Theatre Bubble is the news, review and blogging site created by Blue Pie Media and run by a dedicated team of outstanding editors and writers: we're always looking for new contributors - to find out more click here.

    Contact Us

    News: news@theatrebubble.com
    Reviews: reviews@theatrebubble.com
    Website: webmaster@theatrebubble.com

    Privacy Policy

    Copyright © 2023 · Blue Pie Media

     

    Loading Comments...
     

      Share this ArticleLike this article? Email it to a friend!

      Email sent!