Written by Louise Jackson
Kissing the Witch is presented by the University of Adelaide Theatre Guild, written by Emma Donoghue and directed by Imogen Deller-Evans. It will run in the Little Theatre, University of Adelaide until August 20.
4.5 star rating
Image supplied by University of Adelaide Theatre Guild; photographer Chris Best
Kissing the Witch tells old stories; stories passed down orally for generations, their meanings interrogated and warped. Often in these stories, the actions of women are painted as silly, misguided, or selfish. In Irish playwright Emma Donoghue’s linking of these tales, she gives voice to the female characters and reason to the choices they make.
‘When a boy changes his life, it’s called an adventure. When a girl does the same, it’s only a fairy tale.’
Donoghue, Emma, ‘Kissing the Witch’
It is a play which is challenging to convey in a short summary, thematically linking tales of troubled girls visiting the witch on the top of the hill in their time of need. Donaghue weaves threads of empathy through familiar fairytales: Beauty and the Beast, Donkeyskin, The Goose Girl, and the Little Mermaid. It culminates with a new fairytale, as the witch finds love with a girl who visits her for help.
Imogen Deller-Evans’ passion for this material is obvious in her careful and loving direction. The Little Theatre is, shockingly, little, with a thrust stage. This space is utilised to best effect when actors direct dialogue to different parts to the audience. Kissing the Witch is Deller-Evans’ directorial debut, yet their direction is distinctly mature.
Image supplied by University of Adelaide Theatre Guild; photographer Chris Best
Thomas Brogden’s set is deeply immersive. The thrust stage is outlined with small plants and goblets, and the backdrop hung with white sheets. Actors morph into different characters as they don new overlayers on stage. These new costumes are pulled from a coat stand and an ornate chest, slammed shut with a dramatic bang.
The small group of actors are what ultimately shine through in this production. They commit fully to every character they portray, bringing new quirks to each fresh face. Sam Wiseman as the Man transitioned seamlessly between bumbling idiot and threatening merchant. Each of Michelle Hrvatin’s (Third Woman) characters are angry, but she succeeds in making these angers feel different. Ellie-May Enright (Second Woman) is particularly notable as an innocent princess, turned runaway, turned beast. Susan Cilento’s (First Woman) stint as the Donkey is of particular note. The dedication to her portrayal of the Donkey’s death had the audience in stitches. Her more human roles are approached with the same tenacity.
Kissing the Witch gives women voices in tales that often centre them, while keeping them silent. It is a marvellous production, brought to life with great care and love. It’s comedic, it’s dramatic, and it’s well worth your time. Head down to the Little Theatre this month (if only for that Donkey death).
On Dit 